SAVED FROM THE WRECK 



,Z 



A DRAMA IN THREE ACTS 



V 

THOMAS K. SERRANO 



PRICE 15 CENTS 



NEW YORK 

HAROLD ROORBACH. PUBLISHER 

g Murray Street 



THE ACTING DRAMA. 



PRICE 15 CENTS EACH. 



I Single Life. 

a Boarding School. 

3 The Spitfire. 

4 Irish Dragoon. 

<i School for i igers. 

6 Gabrielle de Belle Isle. 

7 Tipperary Legacy. 

5 Deeds of Dreadful Note. 
9 A Peculiar Position. 

10 A Private Inquiry. 

11 I'll Tell Your Wife. 

12 P'ast Family. 

13 Antony and Cleopatra 

Married and Settled. 

14 My IViend in the Straps. 

15 School for Scheming(Love 

and Money). 

16 Our Mary Anne. 

17 Miseries of Human Life. 

18 An Irish Engagement. 

19 How to Settle Accounts 

With Your Laundress. 

20 Advice Gratis. 

21 A Hasty Conclusion. 

22 Weak Points. 

23 Grace Darling. 

24 A (iray Mare. 

25 Middle Temple. 

26 The Original. 

27 The Sentinel. 

28 Tiger at Large. 

29 Why Did You Die? 

30 Sayings and Doings. 

31 Tv.in Hrothars. 
3a Ask no Questions. 

33 Cure for Coquettes. 

34 Cabin Boy. 

35 Who Stole the Spoons ? 

36 Mrs.Gamp'sTeaandTurn 

37 Village Doctor. [Out. 

38 Family Pride. 

39 Queen Mary. 

40 1 hree Grocers. 

41 Race Ball. 

43 Presented at Court. 

43 A Sign of Affection. 

44 Dancing Barber. 

45 Who's Your Friend ? 

46 Charity. 

47 Wicked World. [ingWell 

48 Motherand Childare Do- 

49 Lying in Ordinary. 

50 The Ringdoves. 

51 Camille. 

52 Lady Ciancarty. 

53 Ten Nights in a Bar-room 
34 Drunkard's Warning. 

55 Fifteen Years of a 

Drunkard's Life. 

56 Fruits of the Wine Cup. 

57 Aunt Dinah's Pledge. 
5I Yankee Peddler. 

59 Vermont Wool Dealer. 
6« Persecuted Dutchman. 
61 Stage-Struck Yankee. 
6a The Limerick Boy (Pad- 
dy Miles' Boy.) 
63 Drunkard's Home. 

A ny oj the abov 



Bachelor's Bed-Room. 

Perfection(theCorl- Leg) 

More Blunders ThanOne 

Whisky Fiend. 

Quite at Home. 

Sir Dagobert and the 

Putting on Airs. [Dragon 

A Slight Mistake. 

Patches and Powder. 

'J"o Let, Furnished. 

The Lost Heir. 

Is the Man Mad? 

A Trip to Cambridge. 

Twenty and Forty. 

Hob-Nobbing. 

The Great Eastern. 

Three (iuesses. 

Getting up in the World. 

Wardrobe. 

A Crumpled Ro.sc Leaf. 
Wild Flowers. [Ladies. 
Don't all Speak at Once, 
Woman Nature Will Out. 
Funnibone's Fix. 
Child of Circumstances. 
Women's Club. 
Shamrock. 
'l"he Changelings. 

Matrimony. 
Refinement, 
Master-piece. 
Frenchman. 
Punch and Judy. 
My Precious Betsy. 
Woman of the World. 
Rob the Hermit. 
Love Master, Love Man. 
Inhuman. 
Champagne, 
H M. S. Pinafore. 
Family Pictures. 
Prison and Palace. 
The Bailiff's Dau-hter. 
La Cigale. 
Broken Prom. • 
The Broken St j . 
Betsy's Profile, 
(ioing Through Ili.'i 
Male and Female. 
Thoughts Before Mar- 
Diplomacy, [riage. 
Our Professor. 
Hurrah for Paris. 
Tittlebat a Father. 
Cross Purposes. 
Love to Music. 
Carried by Assault. 
The Locked Door. 
Those "Cussed" Waves. 
Masquerading for Two. 
The Love Flower. 
Oh, My Uncle! 
The Dawn of Love. 
Juliet's Love Letter. 
Bric-a-Brac. 
A Cousin to Them All. 



132 The Wanderer's Return, 

133 Uncle Jack. 

134 'I'he Married Widsws. 
13s For^ght:or,MyDaugh- 

te^ Dowry. 

136 Muolo the Monkey. j 

137 Too W'indy for an Um- 

brella. 

138 Beauty and the Beast. 

139 Cinderella. 

140 Rosebud ; or, the Sleep- 

ing Beauty. 

141 The Princess. 

142 Rumplestiltskin. 

143 Skinflint. 

144 One Must Marry. 

145 John Smith. 

146 Just Twenty Years Ago. 

147 Pipes and Perdition. 

148 Under the Curse. f!: 

149 Two Drams of Brandy. 

150 Don't Marry a Drunkard 

to Reform Him. 

151 Ralph Coleman's Refor- 

mation. 

152 Who Got the Pig ? 

153 Money Makes the Man. 

154 Bardell vs. Pickwick. 

156 A Pint of Ale. 

158 Engaged. 

159 My Awful Dad. 

160 Out i.i the Streets. 

161 The Law Allows It. 

162 There's Millions in It. 

163 Tootle Tootle Too. 

164 A Purty Siiure Cure. 

165 Let those Laugh who 

Win. 

166 AdarkNoight'sBusiness 

167 A Game of Billiards. 

168 The Village Belle. 

169 Cousin Florence. ^, 

170 I Love Your Wife. 

171 The Dutchmanin Ireland 

172 A Woman Will Be a 

Woman. 

173 Lucy's Love Lesson. 

174 Our Utopia (The Es- 

thetic Cousin). [Stars. 

175 The Daughter of the 

176 The Stolen Child. 

177 Well Fixed for a Rainy 

Day. 

178 Cross Purposes (A Mis- 

understanding in 1 act) 

179 The Artist's Stratagem, 

180 Picking up the Pieces. 

181 Lovely. 

182 Irresistibly Impudent. 

183 Love's Young Dream. 

184 Wooing under Difficulties 

185 Rebecca and Rowena. 

186 The Shakespeare Water 

187 Marion Fay. [Cure. 

188 At Sixes and Sevens. 

189 Change Partners. 



ivill be scut by mail on 7-eceipt 0/ the price ^ by 



F. O. Box 3410. 



HAROLD ROORBACH, Publisher, ^ 

SucceiBor tu Kookbacu k CuMfANV. 

Murray Street, New Y«rk. 



SAVED FROM THE WRECK 



A DRAMA 



IN THREE ACTS 



THOMAS K SERRANO 




PRINTED FROM THE AUTHOR'S MANUSCRIPT WITH THE CAST OF THE CHAR- 
ACTERS SYNOPSIS OF INCIDENTS TIME OF REPRESENTATION COSTUMES 
SCENE AND PROPERTY PLOTS DIAGRAMS OF THE STAGE SET- 
TINGS SIDES OF ENTRANCE AND EXIT RELATIVE POSI- 
TIONS OF THE PERFORMERS EXPLANATION OF 
THE STAGE DIRECTIONS TABLEAUX ETC 
AND ALL OF THE STAGE BUSINESS 



Copyright, 1888, by Harold Roorbach 



NEW YORK 

HAROLD ROORBACH, Publisher 

9 MURRAY STREET 



\- 






SATED FROM THE WRlTCK. 

CAST OF CHARACTERS. 

Fayette At WOOD, - - . A country gqu ire. 

Joseph Latour, A gentleman of means, " Saved from the Wreck." 
Augustus Giggle, - - Whese nature resembles his name. 

Clincher Katcraft, - Keeper of the light house at Baruegat. 
Harley, - - - - - Assistant at the light-house. 

Michael Mullix | "^^ individual whose hands have a preposses- 

^ ' 1 siou for other people's pockets. 

Sammy, ----.. ^ light-house assistant. 

Teddy Fizzles / ^ detective who does not always act on the 

' 1 information be receives. 
Madeline, --..... Squire Atwood's wife. 
JsANCY Katcraft, - - The landlady of the Atlantic House. 

■^\^^^' - Her daughter. 

^OTE— The characters of Sammy and Fizzles can be doubled, and 
the latter may be played with a dialect if desired. 

Time of Representation,— Two Hours and a Half. 



SYNOPSIS OF INCIDENTS. 

Act I. The Home of the Light-house Keeper. An autumn 
afternoon. The insult. True to herself A fearless heart. The 
unwelcome guest. Only a foundling. An abuse of confidence. The 
new partner. The compact. The dead brought to life. Saved from 
the wreck. Legal advice. Married for money. A golden chance 
The intercepted letter. A vision of wealth. The forgery. Within 
an inch of his life. The rescue. Tableau. 

Act 11. Scene as before; time, night. Dark clouds gather- 
ing. Changing the jackets. Father and son. On duty. A strug- 
gle for fortune. Loved for himself The halved greenbacks. The 
agreement. An unhappy life. The detective's mistake. Arrested. 
Mistaken identity. The likeness again. On the right track. The 
accident. Will she be saved ? Latour's bravery. A noble sacrifice. 
The secret meeting. Another case of mistaken identity. The mur- 
der. Who did it? The torn cuff. " There stands the murderer! " 
It is false!" The wrong man murdered. Who was the victim"? 
Tableau. 

Act III. Two days later. Plot and counterplot. Gentle- 
man and convict. The price of her life. Some new documents 
The halved bank-notes. Sunshine through the clonds. Prepared 
for a watery grave. Deadly peril. Father and daughter. The ris- 
ing tide. A life for a signature. True unto death. Saved ' The 
mystery solved. Denouement. Tableau. 



/^>3?y;^ 



SAVED FROM THE WRECK. 3 

COSTUMES. 

Atwood. Grey suit, autumn overcoat, silk hat and patent leather 
shoes. Light hair, moustache and side-whiskers. 

Latoik. Dark suit, cull-skin shoes, derhy hat. Black hair and 
heard, sli<^htly tinged with giey. 

Gigglp:. Fashionahly dressed (a la dude), patent leather shoes, 
silk hut, etc. Jewelry, eye-glass and cane. 

Katcraft. Dark trousers tucked in heavy hoots, 1)1 ue flannel 
shirt, soft slouch hat and pea-jacket. His hair is iron gray and he 
wears a grizzly heard. 

Hakley. Light trousers tucked in heavy hoots, a neat hlue flan- 
nel shirt, neck-tie, i^ea-jacket and derhy hat. Black curly hair, hut 
no heard. 

MuLLiN. In dress, huild and appearance similar to Latuur. 
. 1 )i important factor of the play. 

Sammy. Dark trousers tucked in l)oots, flannel shirt, neck-tie and 
sh)nch hat. Light hair, l)ut no heard. 

Fizzles. Dark navy hlue suit and silk luit. Sandy hair and 
moustache. 

ALvDELiNE. Fashionahly attired, wrap, parasol, etc. Blonde hair, 
ex(|uisitely arranged. 

Elsie. Caml)ric polka-dotted dress, slippers, etc. Light hair, 
arranged in girlish fashion with a ril)hon. 

Mrs. Katckaft. Matronly attire, dark dress, white apron, etc. 
Black hair, tastefully arranged, slightly tinged with grey. 



PROPERTIES. 



Acts I and II. An old fashioned bufiet, L. II., on which bottles, 
glas.ses, and decanters are arranged. Sofa K, H. Tables R. C. and 
L. C. Chairs K. and L. of tables. Easy chair near tireplace. 
Grate tire C. Screen, five feet high, before tire. Clock, writing ma- 
terials and lamps, ready to light, R. and L., on mantel shelf at 
fireplace. Curtains at windows, looped back. Pocket-book con- 
taining banknotes, and pistol for Atwood. Pocket-book, letters and 
documents for Latour. Knives and pistols for Katcraft and 
MuLLiN. Letter lor Sammy. Card for Giggle. Pencil for MuL- 
LIN. Tray, glasses and l)ottles ready at prompt stand. Basket. 
Crash (glass) readj for use. Matches on table, L. Handcuft's. j)is- 
tol, and photograph for Fizzles. Pipe and tobacco lor Latour. 
Money for Giggle. Lighted cigarette lor Giggle. Powder in 
paper for CLINCHER. Kain outside. 

Act IIL Halved banknotes and documents in pocket-book, and 
pistol for Atwood. See that one of Mulltx's slioes is marked on 
the top " No. 17." Whistle ami knife for Katcraft. Lett<'rand 
warrant for Fizzles. Memoranda and ])encil fur J^ATOiK. Letter 
(patched) for Giggle. Taljie aud chairs R. C. Canvas cot up R. 
U. E. Lighted lamp, writing materials, jug of water aud glass on 



4 SAVED FROM THE WRECK. 

table. Coils of rope piled np high, R. and L., above doors. Strong 
rope, an inch thick, for Katckaft. Nautical bric-a-brac ar- 
ranged about stage. 



STAGE SETTINGS. 
Acts I and II. 



/J/o./..» Bci<.k. 




a 






1 
Door 



T abte & 



i 



Do 



Act III, Scene 2. 



Mar.ne B'^rh.ny 




SCENE PLOT. 

ACTS I and II. 

Sitting-room in the Atlantic House at Barnegat. Plain chamber 
boxed in 4 G. Doors R. U. E. and L. U. E. Doors R. 2 E. and L. 2E. 
(Note : Door R. 2 E. should open up stage, so as to screen Giggle at 
close of Act I.) Windows R. and L. at back. Mantel shelf and fireplace 



SAVED FROM THE WRECK. 5 

C, at back, "with grate fire. The scene is backed with a marine 
landscape which is seen through the windows R. and L. Backings 
at all entrances. 

ACT III. 

Scene 1. — A landscape in 1st grooves. 

Scene 2. — Storage room on the ground floor of the light-house, 
boxed iu 4 G. Doors R C. and L. C.,at back. Window C, in alcove. 
Doors R. 2 E. and L. 2 E. The scene is backed with a marine land- 
scape which is seen through the window C. Moonlight effect on the 
backing, if practicable. Have suitable backings at all entrances. 



STAGE DIRECTIONS. 

The player is supposed to be facing the audience. R. means right ; 
L., left; C., centre; R. C, right of centre ; L. C, left of centre ; D. 
F., door in the flat or scene running across the back of the stage; R. 
F., right side of the flat; L. F., left side of the flat; R. D., right 
door; L. D., left door ; 1 E., first entrance; 2 E., second entrance; 
U. E., upper entrance; 1, 2 or 3 G., first, second or third grooves; 
up stage — toward the back ; down stage — toward the footlights. 

K- RC. C. L. C. L. 



SAYED FEOM THE WRECK. 



ACT I. 

Scene: Sitting room, neatly furnished, in the Atlantic House — 
Barnegat. Time, afternoon. 

As the curtain rises, Elsie is discovered waiving her handker- 
chief, while looking out of IVijtdow r. 

Enter Atwood r. U. E. 

Atwood. [On entering.) Ah, good day, Miss Elsie. [Comi7ig 
down C.) Was that one of your admirers, passed me just now? 

Elsie. [Down r.) Yes, Squire — one of them. 

Atw. I'll wager, I know one who has a better chance than he 
of winning you. 

Elsie. Do you mean Harley ? 

Atw. [Perplexed.) Harley] Who is he ? 

Elsie. My father's assistant at the light-house. 

Atw. Ah, yes, an ignorant boatman. You surely do not love 
such a booby ? 

Elsie. I don't know whether I love him, but one thing I do 
know ; 1 don't like you, or any one else, who speaks ill of him. 

Atw. Why, you surprise me. Miss Elsie! I always thought your 
ambition was of a higher plane. A young and pretty girl like you 
should have aspirations above this rookery of a place — and the 
love of a penniless boatman. 

Elsie. And for what should I change it ? 

Atw. For the love of a man who would find you wealth, and 
change that cambric gown for one of silk, and cover those pretty 
fingers with diamonds. 

Elsie. And who is the lover to do this? 

Atw. [Advancing to her.) I. 
6 



SAVED FROM THE WRECK. 7 

Elsie. {^Retreating a step.) You ? 

Atw. [Business as before.) Yes, I. 

Elsie. {^Business as before.) But you have a wife already. 

Atw. True ; but I can at least make you my protegee. 

Elsie. Pardon me, Squire ; in this old rookery, as you call it, I 
was born and reared, and taught by my mother to be an industri- 
ous and honest girl. If I prefer a cambric gown and the honest 
love of a penniless boatman to your diamonds, you must please 
score it to my ignorance. {Xes l.) 

Enter Harley, r. u. e. 

Atw. Listen ere it be too late, Elsie. If you wed the boatman 
your life will be one of poverty ; if you accept my protection, it 
will be one of luxury. Come, which shall it be? 

Harley. {Coming dowft C, unseen.) Yes, which shall it be? The 
boatman's wife, or the ':^q^\x€ s protegee ? 

Elsie. {Going to Harley.) Why, the boatman's wife, Harley! 

Atw. You've been eavesdropping, scoundrel! Were we equals, 
I should chastise you for this intrusion. {Starts to go up stage, but 
is intercepted by Harley.) 

Har. A word with you, sir. Whatever there may be twixt our 
stations of life, remember, I come from a family that do not insult 
women. Go! {Xes down r. in thought.) 

Atw. I trust, Miss Elsie, the next time I have the pleasure of a 
tete-a-tete with you, it will not be interrupted, especially by a 
nobody. Exit R. U. E. 

Elsie, (l.) Vl-a.x\q.^\ {He takes no notice.) Harley, dear 

Harl. (r.) Don't speak to me any more. 

Elsie. Why not? 

Harl. For encouraging that fellow. 

Elsie. I don't encourage him, indeed I don't. {Going to him.) 
Harley, dear, you don't suppose I could prefer him to you ? 

Harl. I don't know. 

Elsie. I am very sorry if I have offended you. 

Harl. {Turniiig round and kissing her.) There! say no more 
about it. 

Elsie. Why, Harley, your clothes are wet ! 

Harl. Yes, my dear, but I am none the worse for a little sea 
water. 



8 SAVED FROiM THE WRECK, 

Elsie. Unless it cools your love. • 

Harl. Ah ! it would take all the water in the broad Atlantic to 
do that 

Elsie. {Pointing to his clothes.) But how did it happen ? 

Harl. As I was pulling homeward from the lighthouse, I noticed 
a boat drifting seaward, and in it was a lady — I went to her 
rescue, and 

Elsie. And you saved her? 

Harl. Well, she'd have been drowned if I hadn't gone ; and — 
and — well, I have no wish to speak further on the subject. 

Enter MRS. Katcraft L. U. E. 

Mrs. Katcraft. [Down c.) Why, it's Harley ! [Kisses him.) 
W^ell, I am so glad you have come home. Why, you are wet 
through ! 

Harl. Never mind, Mrs. Katcraft. A kiss from Elsie will keep 
the cold out. 

Mrs. K. Now, Harley, don't you fill my girl's head with a lot of 
nonsense ; and above all, make no engagements. Rememberyou 
may yet find your parents. 

Harl. Oh ! if you could assist me ? 

Mrs. K. Ah, I know but little more than you ! When you w-ere 
left in the charge of my husband about eighteen years ago, by a 
stranger who 

Enter Clincher Katcraft, r. u. e., accompatiied by Mullin, 
who remains up c. 

Clincher. {Down i..) Hello! gossiping again ? ( 7<? Mrs. Kat- 
craft.) That tongue of yours is ever clanging — clanging, Uke 
the lighthouse bell when there's a fog. 

Mrs. K. {In a bitter tone.) So, you have come home again? 

Clinch. Yes ; and I'm going to stay home. Doubtless you'd as 
soon see the devil, as me. 

Mrs. K. You read mc aright, CUncher. 

Clinch. And you call yourself a good wife. {Looks at her a 
motnent, then laughs.) You must be madly in love with your 
husband — ha! ha! ha! — {To Elsie.) Come, bring me some 
whiskey. 

Elsie. Yes, father. Exit L. u. E. 



SAVED FROM THE WRECK. 9 

Mrs. K. Speaking of wives, let me tell you, Clincher, I was a 
good and loving wife till I discovered, ah, too soon after we were 
married, the bitter bargain I had made. 

Clinch. Ha ! ha ! discovered that I loved you, the landlady of 
the Atlantic House, for the sake of what you possessed. 

Enter Elsie with two glasses and a bottle, and places them on 
table R. c. 

Elsie. [^Going to table.) Your hquor, father. 

Clinch. {^Tastes liquor.) Hem! more water than spirit. {Sur- 
veys Elsie.) Hem, you're growing pretty. Why, with your 
good looks, you ought to place yourself in the market for a swell. 

Mrs. K. Clincher ! 

Clinch. Curse you, shut up ; can't I give the girl some fatherly 
advice? Hereafter, keep a civil tongue or I'll teach you how 
to 

Mrs. K. By striking me ? 

Clinch. Yes, [Raises hand.) I'll doit. 

Harl. {Coming down c. between them.) Strike her, Clincher 
Katcraft, and I will brain you. 

Clinch. What ! Young nobody's son — a foundling. I dare say 
your mother had good reasons for disposing of you 

Harl. Liar! {About to strike him, Mrs. Katcraft stays the 
blow.) 

Mrs. K. Hold, Harley ! Go into the kitchen — leave him with 
me. Elsie ; follow him. {Accompanies them to door -l. u. e.) I 
cannot bear to see my child blush for her father. Go. 

Exit Harley, l. u. e. 

Elsie. {At door.) Mother! 

Mrs. K. {Kissing her.) Have no fear, my darling. 

Exit Elsie, l. u. e. 

Clinch. {To Mrs. Katcraft.) Do you know, your sex is the 
strangest of the two ? 

Mrs. K. Do you remember the last time you raised your hand 
to me? 

Clinch. Yes ; and that boy was the cause of it. You wished to 
know too much. 

Mrs. K. I knew he was left in your charge until his parents 
claimed him; that you were entrusted with large sums of money 



lo SAVED FROM THE WRECK. 

for his education. How have you carried out your pfbmise ? 
Have you not made a drudge — a slave of him ? And when I 
asked you to do the boy justice, you struck me. That blow, 
Clincher Katcraft, killed every spark of love in my heart. I 
agreed, on condition you kept away from me, and took up your 
abode at the light-house, to give you every penny that I made at 
this business. Why, do you return to mar the quiet and peace of 
my Hfe ? 

Clinch. Don't you think a man wishes to see his family now and 
then ? My friend there, came down from New York to pay me a 
visit, and I thought I'd celebrate the event by having a couple of 
drinks here. Come, give us some liquor. Hurry up. 

Mrs. K. Drinking the profits again. Much good may it do you. 

Exit L. u. E. 

Mullin. {Advancing dow7t r. c.) If she were my wife, I'd soon 
break her in. [Sits R. of table.) 

Clinch. [Seated L.) None of your interference in my domestic 
arrangements. This is better than Sing-Sing, eh ? 

Mul. Hush ! If they find me I shall have to go back and finish 
my time. 

Clinch. Now let us understand each other. I am tired of the 
light-house, with its long and weary days, its dark and silent nights. 

Mul. You want to make money, don't you ? 

Clinch. Yes. 

Mul. And so do I, and I'm not particular how I get it. 

Clinch. I never was yet, and I ain't a going to be in my old age. 
Enter GiGGLE, R. u. E. 

Giggle. {^Af C. tip stage, looking l.) Ah, here's a place for a 
sour mash. I revel in sour mashes; it's out of the common order 
of things. Ah, sour mash ! Ha ! ha ! ha! [Covwig down stage r. c. 
hiughing, not seeing Clincher rt«^ Mullin, he strikes table with 
fist.) It makes me laugh when I anticipate one. 

Clinch. [Rising.) Who the deuce are you? 

Gij. My name is Giggle — Augustus Giggle 

Mul. {Aside as he rises.) I thought I recognized him. 

Gig. Ha ! ha ! ha ! Funny name, isn't it ? Giggle by name, 
and Giggle by nature. {Pokes Katcraft in the ribs.) 

Mul. Why you'll hurt yourself laughing one of these days, Mr. 
Wriggle. 



SAVED FROM THE WRECK. Ti 

Gig. Not Wriggle ! but Giggle — laughing is healthy. Ha ! ha ! 
ha ! Why I was born laughing sir, and laughing I shall die. In 
fact to use an old expression, I shall die laughing — like the man 
who was tickled to death. Ha ! ha ! ha ! 

Clinch. Here, wife ! wife ! bring that liquor along. 

Gig. Thanks awfully — I'll take a sour mash. Ha! ha! ha! 

Clinch. Understand, you pay for your own drink. 

Gig. Oh! — ha! ha! funny, very funny that. 

Clinch. If you don't stop that giggling, I'll take you outside and 
give you a salt water ducking. 

Gig. Funnyman. Very good ! Ha! ha! Excuse me — it's the 
way I have got — Ha ! ha! ha! 

Enter Mrs. KatCraft, l. u. e, with two glasses a?td bottle 

on tray. 

Clinch. {Takmg tray.) Come into the next room, Mike. We 
don't wish to be disturbed with that laughing simpleton. 

Exit with Millin, R. 2 E. 

Gig. Excuse me— may I ask you two questions? Well, can I 
have a sour mash, and in which direction from here is Squire At- 
wood's house ? 

Mrs. Katcraft. You can have a sour mash with pleasure. Squire 
Atwood resides in the second villa, down the main road. 

Gig. Madam, don't take me for an ordinary person or you'll be 

mistaken. I'm down here on business. I represent the firm 

well a very firm firm, that's all. Ha ! ha ! ha ! 

Mrs. K. Bless the man! What is there to laugh at? 

Gig. Nothing— positively nothing— that's why I laugh. Ha ! ha ! 

ha ! I was about to remark, my firm is a lawyers' and I am a 

clerk— no ordinary clerk, but a head one— like the coin that 
hadn't a tail on it. I visit Barnegat, Madam, merely to have a 
chat with Squire Atwood on important business. — Can I be accom- 
modated with a bed beneath your celestial roost, and have an 
invigorating sour mash ? 

Mrs. K. Certainly, sir. 

Gig. Thanks; bring me then the sour mash. Stay. {Pointing 
to R. 2. E.) Your best man in there? 

Mrs. K. My best man ? Well, he^s my husband. 



12 SAVED FROM THE WRECK. 

Gig. Ha! ha I I thought he was the head-Hght of ^his roost. 
Ha ! ha ! ha ! 

Mrs. K. What are you laughing at ? 

Gig. Ha ! ha ! I don't know, I never do — I laughed when I mar- 
ried. 

Mrs. K. Oh, marriage is no laughing matter. 

Gig. Just so, ha ! ha ! ha ! It was to me. I laughed when my 
wife died. " Gussie," she said, "I am to be defunct." I took 
her feeble hand in mine. I stooped to take a parting kiss, and 
while the tears were rolling down my nose I laughed. Ha ! ha ! 
ha! 

Mrs. K. And your wife. 

Gig. Got up, broke my head with a poker, and then went to 
bed again and died. 

Enter Joseph Latour, r. u. e. 

Latour. {Coming down c.) This is the place. [To Mrs. Kat- 
CRAFT.) Does Clincher Katcraft still keep this house? 

Mrs. K. Yes, sir. 

Lat. Can I have a room here to-night ? 

Mrs. K. Certainly, sir — I'll go at once and arrange it. Now if 
there's anything gives me pleasure, it is to make other people 
comfortable. Exit L. u. E. 

Gig. [Seated -L. of table L.) A stranger in these parts? 

Lat. [Seated K. of table.) Yes. 

Gig. Your name ? 

Lat. Smith, if you like. 

Gig. It doesn't suit ; try another. 

Lat. You are very curious, my friend. 

Gig. Now, come, you don't really mean that. 

Lat. Who are you ? 

Gig. A lawyer ; don't be alarmed. I won't harm you. Ha! 
ha! ha! Will you have a sour mash with me ? 

Lat. No; you're a lawyer, eh? 

Gig. Not a lawyer in full bloom, but a clerk in blossom. Man- 
aging clerk to the firm of Catchem and Fleesem, of Temple 
Court, New York, and down here on business. 

Lat. I have just returned to America, and shall require a law- 



SAVED FROM THE WRECK. 13 

yer. Your card. {Giggl,e £-ives him card which he puts into 
his pocket.^ My return to America is of a domestic nature. I 
am anxious to find a wife and child. Mine is a strange story, and 
you, being a lawyer, can perhaps be of service to me. 

Gig. I'll not ask a retainer, if the narrative be romantic. I dote 
on romance, especially when it's spicy. Ha ! ha ! ha! 

Lat. When I was about twenty years of age, I was a gentleman 
without fortune. I resolved to better my condition by a rich mar- 
riage. I met in this town a young lady supposed to be an heiress, 
she was handsome, and so I married her. 

Gig. For her money. (Clincher seen listening at d. r. 2 e.) 

Lat. Yes; but I had also spread abroad a rumor that I was rich. 
But we hadn't been married long before she discovered I was as 
poor as Job. 

Gig. Ha! ha! ha! 

Lat. And I found out that my supposed heiress was as poor as 
myself. At the expiration of a year, and after the birth of a 
child, we discovered our slender means exhausted. My wife pro- 
posed that we should separate to seek our fortunes in the world 
apart. Disgusted with her heartlessness — for in spite of my dis- 
appointment, I had learned to love — in a moment of angry pas- 
sion, I deserted her, taking with me the child, whom I left here 
in charge of the landlord, with the last money I possessed in the 
world, but sufficient to maintain and educate him until I claimed 
him. I then took passage for Brazil, and, after eighteen years, 
have come home, a rich and prosperous man, to claim my son and 
find my wife. 

Gig. To find your wife — what for? 

Lat. Because 1 loved — still love her, and wish to make repara- 
tion for the grievous wrong I have committed. 

Gig. And you have never heard from her? 

Lat. Never! The ship in which I took passage was lost off 
Cape Hatteras. Every soul on board perished, I alone was 
Saved from the Wreck! {Sees Clincher; rises ; Xes to c.) Why, 
you knave, you have been listening ! 

Clincher. I! No, no. I haven't heard a word. 

Lat. [Advancing to him.) Clincher Katcraft, I've a few ques- 
tions to ask you. 

Clinch. {Suppressed agitation.) In a minute ! Hello, Nancy — 



14 SAVED FROM THE WRECK. 

wife— quick, I want you ! {Xmg to L. h. as Mrs. ^Katcraft 
enters l. u. e, ; aside to her. ) Quick ! go and send that boy Har- 
ley to the hght-house— to the devil. Only get rid of him at once. 

Mrs. K. I can't spare the time to look after him. 

Clinch. Curse you, must I go myself? Exit L. U. E. 

Gig. Landlady, where is my sour mash ? 

Mrs. K. I've no hme juice in the house, sir; but there is plenty 
of it in the cellar. ( To Clincher who re-enters l. u. e.) Will 
you go to the cellar for some hme juice ? 

Clinch. No, I won't. 

Gig. I will bring it to you, and drink it for you, like the boy who 
took his brother' medicine for him. Ha ! ha ! ha ! 

Mrs. K. Laughing again ? 

Gig. Why not? I am contented and happy, and the more I 
laugh the merrier I become. Ha ! Mrs. Katcraft, I do enjoy my- 
self. Exit L. u. E., followed by Mrs. Katcraft. 

CUnch. {Aside.) I can't find that boy — I must get him out of 
the way — it won't answer my purpose for the father and son to 
meet yet, and find that I have misused the money. {To Latour.) 
Now, sir, I am at your service. 

Lat. So you have forgotten me, eh ? 

Clinch. You have the advantage of me. 

Lat. Well, then I'll refresh your memory. 

Clinch. {Aside.) I'm in for it, and will have to take his physic. 

Lat. On the i8th of March, 1869, a child was left in your 
charge. 

Clinch. I don't know nothing about it — This isn't a FoundUng 
Asylum — and I ain't the keeper. 

Lat. No ! This is the Atlantic House at Barnegat, and you are 
Clincher Katcraft, its proprietor. These little bits of paper 
{Shows receipts.) are your receipts, and engagement, to keep and 
educate the child till I should claim him. Now, Chncher Katcraft 
— where is my son ? 

Clinch. I don't know — I ain't his shadow. 

Lat. Beware! if you have not kept your word with me; if harm 
has come to him — what is he like ? 

Clinch. What's he hke ? Well, he's hke a fellow what's more 
trouble than he's worth — a good-for-nothing lazy cuss, what won't 
work, and won't speak the truth. 



SAVED FROM THE WRECK. 15 

Lat. If this be true — bitter indeed has been my punishment. I 
lave Hved but in the hope of clasping him to my heart — toiled 
v'lih but one desire to make him rich and happy — Chncher Kat- 
;raft, you lie. Take me to him, let me judge for myself. 

Clinch. He's at the light-house. You remain here to-night, and 
n the morning you will see him. (Mullin advances down r., 
Clincher looking at him.') Why, bless me! What a wonderful 
ikeness between you two men ! You are as like as two peas, or 
ls one pea that's been split in two. What will you drink, gentle- 
nen ? (Note — Mullin and Latour should be similar i?i stature, 
iress and general appea7ance.) 

Lat. Nothing for me — {Going towards l. u. e.) I must write to 
ny bankers for some money. If my son returns, let me know. 

Exit L. u. E. 

Clinch. I wonder if that boy has gone to the light-house — I don't 
^ant him to meet his father yet. Exit L. u. e. 

Mullin. Like me, eh ! I wish I could have his money, and let 
lim finish my time up the Hudson. — He is a rich man and I am 
n escaped convict. Exit R. u. e. 

Enter Giggle and Mrs. Katcraft, with basket, l. u. e. 

Giggle. I repeat, Mrs. Katcraft, I must have lime juice in my 
k'hiskey. 

Mrs. Katcraft. But we have none in the house. 

Gij. Then the house must have some 

Mrs. K. Then it remains with you to go to the cellar and get it. 

Gig. Give me the basket and I will go. [Going towards r. u. e.) 
iere's a pretty how d'ye do; a fellow must wait on himself or go 
without his liquor. Ha ! ha ! ha ! 

Exit r. u. e. — [Crash is heard off r. u. e.) 

Mrs. K. He's fallen on the broken bottles ! 

Enter Atwood and Madeline, r. u. e. 

Atwood. (l.) Now, madam, you have your wish. 
Madeline, (c.) It is not often that I do. 

Mrs. K. [Offers chair.) You will take a seat, Mrs. Atwood i It's 
)roud and delighted I am to see you. 



l6 SAVED FROM THE WRECK. 

Mad. We have called for the purpose of thanking your son for 
his bravery. 

Enter Harley and Elsie, l. u. e. 

Atw. And rewarding him. 

Harley. Reward ! I did not ask for a reward, sir ; nor do I 
need it. 

Atw. Ah, I'm afraid your pride o'er rides your station. 

Mrs. K. Bless and prosperous us all, what has the boy been 
doing ? 

Mad. Saving my Hfe, and at the risk of his own. 

Elsie. Dear Harley ! 

Mad. We were out boating— but a sudden squall came and 
without our knowledge 

Atw. Madam, you forget yourself. 

Mad. Perhaps; but I do not forget this young man who, seeing 
the danger, plunged into the surf, swam to our boat and brought us 
safe to land. It was the act of a brave and fearless man; but as 
he would not remain to receive my thanks, but hurried away as 
though ashamed of his own bravery, we sought him out to thank 
him. 

Atw. And to pay him for his trouble. Here, young man, here 
are twenty dollars for the service you've rendered my wife. 

Harl. Pardon me, Squire, but I can not accept it. I thank you 
sincerely, madam, but I only did what any man would have done 
under hke circumstances. 

Atw. You're too proud to accept the gift ! 

Harl. No, sir, only independent. {Goes up c.) 

Enter Clincher, r, u. e. I 

CUncher. I say, wife, who left the cellar door open? I camel 
nearly going through the opening. Ah, good evening all. ' 

Atw. What do you think. Clincher; that son of yours refuses to 
accept a small gift from Mrs. Atwood for services rendered. 

Mrs. K. His pride forbids his taking it. You can't blame the 
boy for that. 

Clinch. Well, we are not so proud, sir-leastways I'm not 
Give It to me, I'll take care of the gift for the boy until he grows 
to understand the value of presents. 



SAVED FROM THE WRECK. 17 

Atw. Here, then. {Gives htm the 7noney.) 

Clinch, (l.) Ha! ha! a crisp twenty dollar bill 

Harl. [Advancing.) Hold! this is my affair. [Taking money 
from Clincher.) Squire, I can not, and will not accept your 
bounty. [Returns him the bill.) 

Atw. Be it so. 

Mad. Your son is a very proud young man. 

Mrs. K. Bless you, madam, he's not my son. 

Clinch. {Aside.) That woman's tongue is ever prattling. [Aloud.) 
He is an orphan whom we've brought up. 

Atw. Out of charity, I presume ? 

Harl. Charity! 

Clinch, (l. c.) Yes, sir ! My charity, and now he repays it by 
refusing the first opportunity of repaying me — ugh — I'm disgusted ! 

Mrs. K. (l. c.) 'Tis false — shame on you, CHncher, the truth 
goes the farthest — but, madam, you look fatigued ! Will you come 
into the dining-room and take a cup of tea ? Exit Clincher, r. 2 e. 

Mad. Thank you, I will. [To Harley.) Young man, you are 
a brave and noble fellow, and if ever you want a friend whose 
wealth and influence can assist you, come to me. Give me your 
arm. 

Harl. With pleasure, madam. 

Enter MuLLiN, R. U. E. 

Atw. ( To Madeline.) I expect some one from my lawyers ; I'll 
walk to the house to see if he has come, and return with the car- 
riage for you, my dear. Au revoir. Exit r. u, e. 

I Exeunt Madeline, Harley a7id Mrs. Katcraft, l. u. e. Elsie 
is following her when Mullin stops her. 

Mul. Well, you are a pretty girl. 
Elsie. Let me pass, if you please. 

Mul. Don't be in a hurry, my dear. I'm a friend of your 
1 father's. In the parts we come from there are not many pretty 
girls. 

Elsie. {Trying to pass.) I am wanted, sir — and 

Mul. Pay the toll then. 
Elsie. The toll— what toll ? 



i8 SAVED FROM THE WRECK. 

Mul. What toll ! Why, a kiss — it costs you nothing— and it's a 
pleasure to me. [Holds her in his arms.) 
Elsie. Release me ! 

Mul. Not without a kiss. [Struggle.^ 
Elsie. Harley ! Harley ! 

Enter Harley, l. u. e., — turns and knocks Mullin down R., as 
Clincher enters, r. u. e. 

Harley. I've a good mind to pitch you through that window 
{^Pointing to window i.. at back.) into the sea. 

Clincher. What's the excitement all about <* 

Harl. Now, take my warning to heart. If you ever attempt to 
molest her again, I'll leach you a lesson to carry to your grave. 

Exit, with Elsie, l. u. e. 

Clinch, (l. c.) What's the matter, Mullin? 

Mul. (r.) Curse him, I'll make him pay for this. 

Clinch. Come here, Mullin, sit down. {They sit at table l..) I 
want to avoid a reckoning with this Latour, and I have got a 
plan. You heard him tell his story t 

Mul. Yes I 

Clinch. He's returned a rich man. No one knows him in this 
country. 

Mul. Go on. 

Clinch. I can't get the idea out of my head, " Write to his 
bankers." Eh, Mike, do you know what I was saying to myself .»* 

Mul. Not your prayers, I'll swear 

Clinch. No, partner. I was saying to myself that you are won- 
derfully like him. He ain't been seen for nearly twenty years, 
nobody remembers him. Now, if he was to die in the night — as 
we know all his history — how easy it would be for you to say as 
you was him, and 

Mul. To kill him and take his place, eh ? 

Clinch. That's it. 

Enter Sammv with letter L. IE., runs against Clincher ^ti/w^ 

up stage. 

Clinch. Hello, where are you going ? 

Sammy. To the post-office with this letter. {Sees Mullin.) 
Why there's the gentleman that gave it me 



SAVED FROM THE WRECK. 19 

Mul. Yes; I'll post it myself. {Taking letter.) 

Clinch. I want you to go down to the beach and see whether my 
boat is fast, and remain out of doors, within calUng distance, till I 
signal you. 

Sam. Yes, sir. ( Gomg up L. c. ) Exit, R. u. E. 

Clinch. What's inside ? 

Mul. I know a way to open it. Shall we ? 

Clinch. Certainly. 

Mul. [Opens letter with pencil.) It is a letter to his bankers, 
New York and Brazihan agents. 

Clinch. I ain't no scholar ; what does it say ? 

Mul, That he has arrived in America, and asks them to send 
him a check book — and that they'll know his signature by the en- 
closed letter. Ah, I see away ! 

Clinch. So do I. Copy the letter and send your signature in- 
stead, eh ? 

Mul. Yes, and when the check book comes draw the money. 
(Clincher takes pen, ink and paper from matitel c. at back.) 

Clinch. Here's pen, ink and paper — quick! Write it now. 
(MuLLiN writes letter, puts it i?ito envelope ; seals it.) But how 
about him ? 

Mul. Get him into the light-house and keep him there till the 
money comes. 

Clinch. Quick ! some one is coming. 

Mul. [Placing letter in C-LmcwKKS hand.) All right. 

Enter Latour, l. u. e. 

Latour. Has my son returned yet ? 

Clinch. No, he's at the light-house ; but if you like, me and my 
partner will row you over there to see him^-there's a good sea- 
boat down on the beach. 

Lat. Very well, come 

Clinch. In a minute. 

Lat. I'll wait for you outside. Exit, R. U. E. 

Clinch. All right. He's walking towards death. [Goes to window 
R. calls.) Sammy! Sammy! (Sammy appears at window R.) 
Post this letter for the gentleman. (Sammy takes letter and dis- 
appears. ) 

Ciincli. Now's your time ; he's waiting there, for us to take him 



20 SAVED FROM THE WRECK. 

to the light-house— he'll never be brought back again— the letter 
is posted — the game is in our hands. 

Enter Latour, R. U. e. 

Latour [af R. u. E.) Are you coming ? 

Clinch. Yes, yes. 

Mul. Ha ! ha ! no one has seen him start. 

Clinch. Ah, the game is ours ! 

Giggle. ( Unseen by them, with his clothes all torn and full of 
dust, appears with basket at R. 2 e.) Not if I can prevent it. 
Ha ! ha ! ha ! 



Latour, 
L. u. E. 





Tableau. 


MULLIN. 


Clincher, 


R. C. 


c. 


Giggle. 




. 2 E., behind door. 





Curtain, 



ACT H. 

Scene: Same as Act L Time, Evening. Mrs. Katcraft and 
Elsie discovered with needlework, at table r. c. Mrs. Kat- 
CRAFT seated l., Elsie seated r. Harley at grate-fire, c. at 
dackf drying jacket; he takes Cia'^cyie.k' s Jacket frojn oj^ chair, 
which is drying before fire and puts it 07i. Music, *' The little 
ones at Ho7ne,'' plaintively played at rise of curtain. 

Mrs. Katcr-aft. You are not looking well, Elsie! What's the 
matter ? 

Elsie. Merely a nervous headache, mamma. Caused, no doubt, 
by the excitement of Harley 's quarrel with Squire Atwood. 

Enter Clincher, r. u. e. 

Clincher. Curse that fellow Giggle, he's prevented our little 



SAVED FROM THE WRECK. 21 

game. He has stopped Latour from going to the light-house. I 
must prevent father and son from meeting. [Sees Harley at fire.) 
Hello ! It's time you were at the light-house. 

Harley. [PuUin^ Clincher's jacket on.) I'm off. I have bor- 
rowed your jacket. 

Clinch. Ugh! 

Harl. Good night, Mrs. Katcraft. 

Mrs. K. Good night, Harley. 

Harl. Good night, Elsie. [Aside to her.) After the house is closed 
I'll put off from the light-house. At the usual signal, come down 
to me at the window, there. [Pointing to window L.) 

Clinch. [Goes to chair near fire, takes ^Harley's Jacket.) Why, 
it's dry enough already, it's warmer than mine — I'll wear it. 

Elsie. Yes, you may expect me, Harley. [Gives Harley kiss, 
i?«<^ Exits, with Mrs. Katcraft, l. 2 e.) 

Clinch. Come, break away. I hate such immorality. [Aside.) 
If he doesn't hasten, they'll meet. Come along, Harley. 

Harl. [Going towards R. u. E.) I'm ready. 

Enter Latour, r. u. e. 

Clinch. Curse the luck 

Latour. [At R. u. E.) Who is this ? 

Harl. You know well enough who I am. 

Lat. Harley, the adopted son of Clincher Katcraft, eh? 

Harl. I am. 

Clinch. [Aside.) Ha! ha! ha! He has mistaken him for Mike 
MuUin. 

Lat. Ah ! then I have arrived in time. 

H£rl. Aye, to be thrown from that window [Pointing to window 
R. at back,) if you are not careful. 

Lat. Young man, you are insolent. 

Harl. Insolent I so were you to Elsie. Who and what are you — 
some jail-bird, no doubt. 

Lat. [Advancing down r. c, aside.) Clincher then was right, 
and this violence proves him unworthy of my love. ( Turning 
and going up to Harley.) Young man, I have travelled thous- 
ands of miles to meet you — to take you by the hand — to lift you 
from your humble caUing and bring you prosperity and fortune. 
My expectations have not been reahzed. In you I thought to find 



22 SAVED FROM THE WRECK. 

• 
a noble-hearted lad, but instead I meet a quarrelsome and violent 
rowdy — I cannot express how grieved I am — [About to go to R. U. 
E., but is i7itercepted by Harley.) Fare-well, and forever. 

Harl. [Intercepting him.) Stay! Do you come from my father? 

Lat. Yes. 

Harl. Then if he is hke you, tell him from me I do not seek his 
fortune, nor his aid. He left me helpless among strangers, to be 
fed and clothed on charity, to grow without education like a weed 
in the field. 

Lat. Left you helpless ! It is false ! Poor and friendless, he 
was compelled to leave America, and you in the charge of 
strangers. He left 30CO dollars with your guardian and every 
year remitted other sums. 

Clinch. [Aside.) It's getting too warm for me. I'm off. 

Exit, L. U. E. 

Lat. Away — abroad, among constant danger and disease — 
where every day he held his life in his hands, he dared not send 
for you — but you were always in his thoughts. He toiled and 
fought for fortune with one desire, to come back home to take you 
to his heart. 

Harl. Can this be true ? 

Lat. Demand the truth from Clincher Katcraft, and then learn 
what you have lost by insulting me. 

Harl. Insulting you ! a ruffian who had the cowardice to molest 
a helpless girl. 

Lat. I — never. 

Enter Mullin, r. u. e., unseen ; he gees to fire C. 

Harl. Are you not the drunken ruffian who insulted Elsie Kat- 
craft ? 

Lat. No ! there must be some mistake. [Suddenly.) Ah! the 
man like me, Katcraft's companion! [Sees Mullin.) There — 
there is the man you mean. 

Harl. [After comparing both men.) I have been deceived by the 
likeness. I ask your pardon. I mistook you for that man. [Point- 
ing /^Mullin.) Beheve me, I am not unworthy of your love. I 
—oh ! — sir, forgive me. 

Lat. [Holding out his hand.) My son ! 



SAVED FROM THE WRECK. 23 

Harl. My father! 

Lat. I have much to tell you and explain. 

Harl. But my duty at the light-house has commenced. 

Lat. I'll walk down with you. Henceforth, Harley, we will face 
the world together. 

Harl. Father! 

Lat. My boy ! {Places ami round Harley's shoulders, and 
Exeunt together, R. u. E., as Clincher enters l. u. e. He comes 
down aiid sits R. of table L.) 

Clinch. I tell you, Mulhn, I'm off the job. 

Mul. Well, all right. Had it not been for that laughing hyena, 
I'd soon settle him. 

Enter Giggle, r. u. e. 

Giggle. Ha! ha! ha! but the fool won't be settled. {Comincr 
down, sits L. of table L,, Clincher rises, and goes up c. to fire ,- 
MuLLiN crossing to table l., takes seat Just occupied by Clincher. 

Mul. Now, Mr. Sniggle 

Gig. Giggle ! not Sniggle, and Giggle has a tale to tell. 

Mul. A tale to tell, eh ? I can tell a tale too, Mr. Figgle. [Sit- 
ting r. of table. ) 

Gig. Giggle, not Figgle. 

Mul. You seem to have a bad memory for faces. I'll refresh 
you. 

Gig. Refresh me, ha! ha! ha! mine will be sour mash. 

Mul. Did you ever hear of the firm of Large, Sales and Profits? 

Gig. Ah! {Starts.) 

Mul. Oh, I see you have. My tale is of two clerks employed 
there some five years ago. Chapter the first. — One of these clerks 
was fond of betting, and one was fond of laughing, but both of 
them wanted money. Chapter the second. — A check was forged, 
written by the betting clerk and presented by the laughing clerk. 
( G^SS^^ starts and is dazed for the moment, then laughs. ) 

Gig. Ha ! ha ! ha ! 

Mul. The forgery was discovered, and one morning the two un- 
fortunate clerks found themselves under arrest. Chapterthe third. 
— One of the clerks was found guilty and sentenced; but the other 
for the want of evidence, was discharged. Chapter the fourth. — 
I am the convicted clerk, and you are the discharged one. 

Gig. Ha! ha! ha I A very funny story. 



24 SAVED FROM THE WRECK. 

Mul. But you don't laugh quite so heartily as you did.. Now I 
have come down in the world and you have gone up. You are 
head clerk in a very respectable firm, who, if they knew your past 
antecedents, would dismiss you from their service. i 

Gig. But I — was exonerated | 

Mul. On the contrary — you were discharged. The evidence was j 
insufficient then, but I could now produce that which would con- | 
vict you, even at this late day. 

Clinch. Why don't you laugh now, Mr. Giggle. {Giggle looks 
serious ; Mullin and Cl-incker /a ug/i at him.) \ 

Gig. [Forced laugh, ^ Laugh! ha! ha! ha! I can always i 
laugh. Ha! ha! ha! {^Rising, goes down stage v..) i 

MuL Now, Mr. Giggle, mind your own business and I'll mind 
mine. Interfere again in my affairs and I will expose you. Silence 
for silence. — [Seeittg Mrs. Katcraft who enters L. u. E.) Re- 
member ! Exit, with Clincher, l. u. e. 

Gig. (/;/ thought.) After these years, the only shadow on my 
life comes up. It's funny, ha! ha! ha! what he says is true 
enough. I was innocent — what of that ? If the firm knew of my 
disgrace I should be discharged. 

Mrs. Katcraft. (G?;;//?/^ ^^7£/;z c.) What's the matter ? You look 
dull, Mr. Piggle. 

Gig. Giggle ! not Piggle — Dull ! I'm as happy as a bird in 
Spring — ha ! ha ! ha I Let's have a sour mash. 

Mrs. K. Yes. 

Gig. Don't spare the lemon, Mrs. Katcraft — ah! by the by — 

make a pint of it while you're at it 

(Sings.) " When you're sad and lack dash. 

Take a strong sour mash. 

It drives away sorrow and care " 

Ah! Mrs. Katcraft, the fellow who first compounded that tonic was 
a genius. Ha 1 ha ! ha I 

Enter Detective Fizzles, r. u. e. 

Fizzles, (r.) Are you Mrs. Katcraft? 

Mrs. K. {Serving Gigg'LE from buffet, l. h. ) That's my name. 

Gig. Ha! ha! ha! Mrs. Katcraft, you know when to put 
liquors on the buffet — when night's drawing on, to save steps — i 
Exit L. 2 E., with glass, singing \ 
" When you re sad and lack dash, etc." 



SAVED FROM THE WRECK. 25 

Fiz. Are you the wife of Clincher Katcraft, keeper of the hght- 
house here at Barnegat ? 
Mrs. K. Yes, sir. 

Fiz. Have you any stranger stopping in the house ? 
Mrs. K. Yes, sir. 
Fiz. Of suspicious appearance ? 
Mrs. K. Yes, sir. Very suspicious. 
Fiz. Where is he ? 
Mrs. K. Somewhere about the house. 

Enter Latolr, r. u. e. 

(Mrs. Katcraft, Pointim^ to Latdur.) Ah, there he is! 

Latour. {at R. u. E. ) What could liave been the meaning of the 
warning not to go to the light-house till I had seen Giggle? I'll 
wait and do so, ( Coinint^ JorTuard. ) 

Fiz. {Aside to Mrs. Katcraft.) The man corresponds with 
this photo to a dot. {Aloud.) How do you do? 

(Mrs. Katcraft retires 1 1- c, t?;;*/ Exits, l. f. e.) 

Lat. How do you do? 

Fiz. What's your name, eh? 

Lat. That's my business. What's yours? 

Fiz. That's my business. It's no good, I know you. Michel 
Mullin, you're my prisoner. 

Lat. You are mistaken, officer. 

Fiz. Officer ! I am a detective. 

Lat. {Filling pipe.) Have you a match ? 

Fiz. No, sir. 

Lat. {Til king match from table \.., and lighting pipe.) I 
thought rot. (Fizzles places handcuffs on Latour's wrists 
while the latter is lighting pipe.) 

Fiz. These will match you though. 

Lat. You're awfully clever. Have you that trick patented or is 
it one of Uncle Sam's ? 

Fiz. Well, you're a cool one. 

Lat. Brought about by the climate. Just feel in my right hand 
inside coat pocket. That's it. Take out the contents. (Fizzles 
opens and reads papers as Latour describes them. ) Receipt for 
passage by ship " Sovereign of the Sea," from Rio Janeiro to New 
York, Joseph Latour, mining engineer. 



26 SAVED FROM THE WRECK. 

Fiz. Right. 

Lat. Receipt for baggage belonging to Joseph Latour, left at the 
Claredon Hotel. (Fizzles /a^es up another package and ex- 
amines it.) Letters and documents of various kinds — bankers' 
drafts, etc.,— Joseph Latour. 

Fiz. Right. 

Lat. Will you kindlj'- take back these pieces of jewelry ? 

Fiz. I have made a mistake. [Releasing him.) I beg your 
pardon. 

Lat. Thank you. {Relights pipe.) 

Fiz. You're wonderfully like Michel Mullin, the man lam after. 
But never mind, I'll have him yet. Exit, R. U. E. 

Lat. He must be the man Clincher said resembled me. Shall I 
put this detective on his track? No, poor devil, I'll give him a 
chance. Exit, L. 2 E. 

Enter Atwood and Giggle, r. u. e. 

Atwood. {Coming down, l. c.) Really, Mr. Giggle, I see noth- 
ing to laugh at. 

Giggle. Don't you? That's funny. Ha! ha! ha! No more 
do I. 

Atw. Mr. Giggle! Will you, on behalf of your firm, advance me 
this money ? 

Gig. I am afraid I can't. {Producing money.) Here is the 
12,500 the firm promised. But as regards more, like the man who 
was asked to hang himself, they would rather not. 

Atw. My wife has plenty of money, or rather say property. 

Gig. Which she will not consent to have mortgaged — Sensible 
woman ; ha ! ha ! ha ! Why, Squire, it's like the mummy in the 
museum; you mustn't touch. Ha! ha! ha! 

Atw. At her death, it comes to me. 

Gij. If she docs'nt leave it to some one else. Don't fear, she 
isn't going to die so soon. Folks are not so obliging as that now- 
a-days — Ha! ha! ha! If I stay much longer here, I'll explode, 
like the man who took a lighted candle to see where the gas 
es:caped. Exit, R. U. E. 

' Atw.^ '(4/^^^. ) What is to be done ? I must have money. Oh, 
if %V^WftySvere to die ! 



SAVED FROM THE WRECK. 27 

Mrs. Katcraft. {Outside L. u. E.) I'm glad, Mrs. Atwood, the rest 
has done you good— (Enter Mrs. Katcraft and Madeline, 
L. u. E.) Now, while you remain here, I will make you a hot cup 
of tea. 

Madeline. Do so, if you please — {^Coming down c.) 

Mrs. K. I'll prepare it instantly. Oh, 1 do enjoy making every 
body comfortable. Exit, l. u. e. 

Atw. {Advancing to Madeline.) My dear! (Madeline pays 
no attention to him, Xes to chair r., and sits.) One word, my 
dear 

Mad. You are unusually polite. Squire. 

Atw. Are you not my wife ? 

Mad. I am but too bitterly aware of it. 

Atw. Remember, you have but to comply with my wishes 

Mad. And turn over my fortune to you, to squander as you did 
your own? Ah, no! when your father vested me with a dowry, 
he was well aware of your true character. He had no desire to 
see his son's wife one day or other without home or fortune. 

Atw. You know I am embarressed. Why desire to keep it? 

Mad. I have reasons of my own 

Atw. Remember, at your death it goes to your husband. 

Mad. And you must wait till then. {Rises.) 

Enter Mrs. Katcraft, l. 3 e. 

Mrs. Katcraft. The tea is quite ready. 
(Madeline ^^(?^5 towards l. u, e; but is intercepted by At:\woot>.) 

Atw. The carriage is here. Will you not ride home, Made- 
line? 

Mad. Thank you, no — at least not at present. Exit, L. u. E. 

Mrs. K. How polite ! What a happy couple they must be. 

Exit, L. u. E. 

Atw. At her death ! Oh, if the devil would but place the means 
within my grasp! [Retires up stage C.) 

Enter Clincher and Mullin, r. u. e. 

Clincher. Honesty — ha ! ha ! ha ! — My notion of honesty is 
keeping out of prison. 

Atw. Mind you do keep out. 



28 SAVED P^ROM THE WRECK. 

Clinch. {^Surprised.) Phew! the Squire ! 

Atw. Who is this with you ? 

Clinch. A friend. 

Atw. {^Looking at y[.\iiSL.\^.) Um ! answers the detective's de- 
scription, and hke the portrait. Ah, how do you do, Michael 
MuUin — {Xhig to him.) 

Mullin. Eh! that ain't my name. 

Atw. No, of course not; that's why you turned pale. Return- 
ing to Sing-Sing is even worse than the light-house — oh, come, I 
know you. 

Mul. Curse you, I'll — {Draws knife — Clincher stops him.) 

Atw. Keep quiet and listen to me. I can speak freely to you 
both, because you are both in my power. 

Clinch, (r.) How? 

Atw. Because you. Clincher Katkraft, keep stolen and smug- 
gled property at the light-house; and you [To Mullin.) are an 
escaped convict. 

Atw. As you entered, you saw a carriage at the door? 

Clinch. Yes, your wife's. 

Atw. (l.) It will have to cross the bridge over the creek. Is 
that bridge safe ? 

Clinch. (C.) You know it ain't — why, if it wasn't for one particu- 
lar support that I knows of, when the carriage crossed the person 
inside would 

Atw. Be killed, eh ? 

Clinch. Yes. 

Atw. Well, if an accident should happen to that bridge to- ■ 
night I 

M'r- } WelU- f 

Atw. I'd give $500 to some deserving charity. 
Clinch. We are that deserving charity. (7^ Mullin.) What 
do you say, partner? It can be done without risk. 
Mul. 1 say — do it. 

Clinch. How is the money to be paid? 
Atw. After the accident, or you might forget to do it. 



SAVED P^ROM THE WRECK. 29 

Clinch. No; before the accident, or you might forget to pay. 

Atw. {Selecting from wallet five $100 notes. ) Well ! here are 
five one hundred dollar bills. We'll cut them in halves— each 
half being useless without its mate. You shall keep these {Gives 
them half notes), and I'll keep these. Now, after the accident, 
you can have these halves. 

Clinch. That will do. (7'^Mullin.) Here, let's divide. {Gives 
MuLLiN two afid a half of the notes.) 

Mai. {Looking around, sees Fizzles^/ Window -l.) Ah! look 
out, we are watched. I'm off. {Drops bills, rushes to l. 2 e,, and 
stumbles against Latour, who enters; Fizzles disappears; 
Clincher afid Atwood look out of window, l.) 

Latour. ( lo MuLLiN.) Mind where you are running ! 

Mul. I'm in a hurry. 

Exit, MuLLiN, L. 2 e. Latour sits on chair near fire, c. 

Atw. I cannot see anyone — ( Taking head in from window.) 

Clinch. Perhaps he's gone round to the back of the house. 

Fizzles. (Enters i^.i'E.., looking back.) Was it he that I passed? 
{Sees Latour.) No ! He is here ! {Advaticing to Latour.) 

Lat. Here's who? Do you want to put those bracelets on me 
again ? 

Fiz. Tricked again, confound it I Exit, R. u. e. 

Atw. You must be mistaken. Clincher. {Advaming down c.) 
Here is your share of the bills. {Picking up bills dropped by 
MuLLiN ; giving them to Latour, whom he mistakes for the 
former. ) 

Clinch. Come along. The bridge will break, the carnage will 
fall and, oh ! if I could only get my wife into it. 

Exit Atwood, l. u. e. 
Enter MuLLiN, R. u. E., coming towards Cli'scher. 

Clinch. Come along, Mullin. {Going towards R. 2 E.) 

MuUin. {Partly aside.) Doubled him again. 

Clinch. Are you coming, Mullin, or do you intend standing there 
all night? 

Mul. {Following him.) You needn't shout in that fashion, 
CHncher. I'm coming. Exit, with Clincher, r. 2 E. 

Lat. {At fire.) What's this accident ? Loosen the supports and 
get rid of his wife ! Can it be, that they are planning a murder 



30 SAVED FROM THE WRECK. 



wo 



under the disguise of an accident? {Examines notes.) T\ 
halves and a quarter of three ^loo bills, eh! I'll see what this 
means. [Rises.) 

Enter Madeline cmd Mrs, Katcraft, l. u. e. 

Madeline. [Conmig to c.) I am much obliged to you for your 
attention. 

Mrs. Katcraft. I hope, madam, we shall be honored by your 
presence more often. 

Mad. That you will, Mrs. Katcraft. (Enter Atwood, l. u. e.) 
I'm prepared to return home. Squire. Is the carriage ready? 

Atw. (l.) Yes, my dear; [Aside.) ready to carry you to your 
death. Shall I spare her? I'll give her another chance. [Alotid.) 
A word my dear ; will you let me have the money ? 

Mad. Not while I Hve, Squire. 

Atw. [Aside.) Then let my plans do their worst. Madam, I 
await you. [Bowing to Madeline.) 

Mad. [To Mrs. Katcraft.) Till we meet again, adieu. 
Exit with Atwood, r. u. e., a/te?' Mrs. 
Katcraft has opened door; she follows off, 

Lat. [Coming down C.) My wife ! 

Gig. ( Who enters R. u. E.) What ! 

Lat. Where is she going ? 

Gig. To her carriage, to drive home. 

Lat. Ha ! which way ? 

Gig. The nearest way, of course, across the bridge. 

Lat. Great heavens ! I see it all ; she is to be the victim. There 
is no time to be lost. [Going up c. rapidly to R. u. e.) 

Gig. Where are you going ? 

Lat. To prevent a crime ! Exit, r. u. e. 

Gig. [Sittittg at table, R.) His wife ! Oh, here's a how dye 
do! a pretty how dye do! Ha! ha! ha ! (Enter Atwood, r. 2 
E. , and Xes to l.) How would you like to lose your wife, sir, and 
her fortune, too? 

Atwcxjd. Her fortune! Ah, no! If I lose my wife, I gain a 
fortune. 

Gig. Oh, no, you wouldn't. 

Atw. Oh, yes, I should. At her death her fortune reverts to her 
husbeind. 



SAVED FROM THE WRECK. 31 

Gig. But you are not her husband. 

At>v. Not her husband ! Then who is ? 

Gig. Who? Ha! ha! ha! Why, Joseph Latour. 

Atw. Ah ! impossible. I was legally married to her. 

Gig. So was he ; only he was married first, ha ! ha! ha! 

Atw. Idiot! 

Gig. She was married before — had a row — husband went to sea 
— supposed to be drowned — was saved fro?}i the wreck — married 
you — came into a fortune from your father, at his death, after her 
marriage with you — husband now turns up, and you are nowhere 
— like the man in the balloon that never came down again. Oh, 
Squire Atwood, if I don't laugh, I shall burst like the man who 
swallowed the bombshell. 

Atw. [Aside.) If this be true, I am lost indeed ! (^5 /le rushes 
to door, R. u. E., crash is heai-d, like the breaking of timbers ^ 
followed by a scream.) Too late! [Giggle laughs; Mullin enters 
R. u. E.) Ah I the bridge ? 

Mullin. [Coming down Q..) Broken down. [Taps Giggle on 
shoulder; he looks round, sees Mullin, and immediately stops 
laughing. ) 

Gig. I'll make myself scarce. Exit, R. 2 E. 

Atw. But the carriage ! 

Mul. Is smashed to pieces. 

Atw. And my wife ? 

Enter Latour, r. u. e., carryi7ig^\kT>Ki.i-i^^^ fainting. 

Xatour. [Placing Madeline in chair near screen.) Is safe, 
Squire Atwood. 

Mul. [Aside to Atwood.) Curse it ! All our work for nothing ! 
I must see, Clincher. Exit, r. 2 e. 

Enter Mrs. Katcraft, l. u. e. 

Mrs. Katcraft. Bless and preserve us, what has happened ? 

Lat. Something was wrong with the bridge. I was hastening 
to overtake the carriage, and had just reached the side — the horses' 
feet were on the bridge — when I seized the lady and dragged her 
out as the bridge, the horses, and the carriage sank below. 

Mrs. K. [Attending VihTi^iA'tiY..) An accident ! 

Lat. (r.) Or an attempted murder, eh. Squire .'' 



32 SAVED FROM THE WRECK. 

Madeline. (7vd'2//'Z/z>?^.) What is this? — Where am I ? And where 
is he who saved me ? {Sees Latour.) Ah, Uving— Oh ! my brain 
is wandering. 

Lat. (7^ Mrs. Katcraft.) Quick! some water. 

Mrs. X. {At back of chair.) Bless and preserve us, yes. {Xes 
to buffet, pou7's water into glass and gives it to Latour.) 

Mad. [c. at back.) Am I dreaming — no — no, you were lost off 
Cape Hatteras — I — oh — impossible ! The memories of twenty 
years return — my husband ! — my husband ! 

Atw. {Advancing to her.) Your husband is here, madam. 

Mad. {With a shudder.) No, no, not you ! The child that was 
taken from me, where — where is he ? 

Atw. (l. c.) The child ! {Takes glass of water fromlAvji. Kat- 
craft.) I will give it to her. Leave us, Mrs. Katcraft. 

Mrs. K. If you wish it — yes, sir — {Goes to Latour, r.) 

Atw. (l.) Here, take this, madam. {Offering glass of water.) 

Mad. No, no, I 

Lat. {Going "R. towa7-ds ^\aT)^ia^^.) Permit me. 

Atw. Excuse me — this lady is my wife. 

Lat. Are you sure of that ? 

Atw. Arise, madam, and follow me. 

Mad. No, no, I cannot — the shock — I 

Atw. Madame, I have discovered your secret — that when you 
married me you had a husband living. 

Mad. I believed he was dead. 

Atw. But you did not tell me that you had a child. I have 
heard this husband say it is alive — but let him beware before he 
claims you as his wife. 

Lat. ( Who has been in conversation with Mrs. Katcraft, 
quickly turns to him.) Beware, and why ? 

Atw. ( 7<? Madeline.) Because, I'll send you to a prison. 

Mad. A prison ! 

Atw. Aye I to a prison for bigamy. Let this husband but avow 
himself, and I shall charge you. How will you like to stand your 
trial in a criminal's dock, and receive a felon's sentence. 

Lat. You dare not do it. 

Atw. Dare not ! The hour this husband comes to claim his 
wife, makes her a felon. 

Mad. Squire, you are a coward. 



SAVED FROM THE WRECK. 33 

Atw. A coward ! 

Mad. Aye, a coward, or you would not persecute a woman. I 
confess my previous marriage. My husband, in a fit of frenzy and 
angry passion, misunderstood and deserted me, and took with hini 
our child. Heaven knows how, in my heart, I mourned his loss. 
He was wrecked off Cape Hatteras, and as I believed, was 
drowned. Thus I was left a childless widow, without a friend or 
protector, defenceless in the world. Unknown to myself a fortune 
had been left me by your father, who, it seems, was largely in- 
debted to my father, for monetary loans advanced years ago. 
And you married me. It is true, I did not tell you my secret, for 
it was a sorrow sacred to myself. But my husband, let him but 
speak the word, and come what may, I will own him before the 
world. You, I defy ! Now do your worst ! 

Atw. Curse you! [Raises his arm to strike her. Madeline 
screams and swoons. ) 

Lat. Stand back! Raise but your arm agpin, and I will strike 
you to my feet. 

Atw. You ! Ha ! ha ! And who are you ? 

Lat. lam — ah! [Aside.) No, no, I can not disgrace, dis- 
honor [Xes L.) 

Mrs. K. [Near her.) Poor lady ! she has swooned ! 

Atw. Rise, madam, and come with me. 

Mrs. K. No, sir! Nancy Katcraft is mistress in this house; she 
shall stay with me. [Leads her to l. u. e. , Madeline, as she goes, 
turns and looks affectionately at Latour. ) 

Mad. Joseph ! 

Lat. ( Going to her. ) Madeline ! have courage- 
Exeunt Mrs. Katcraft and Madeline, l. u. e. 
( Turning to Atwood.) I shall do nothing to bring dishonor upon 
her name. I will go away, but I will not leave her to your mercy, 
to be murdered. 

Atw. Murdered ! 

Lat. [Comi7ig toward A.T\\ooT>.) Aye, murdered! I overheard 
your plot, and know that you had sent a helpless woman to her 
death. 

Atw. 'Tis false ! You have no proof. 

Lat. But I have. These half bank-notes. [Shows bank-notes.) 
Now, Squire Atwood, we can deal on equal terms. 



34 SAVED P^ROM THE WRECK. 

Atw. {Aside.) Trapped! I must see Clincher, ancf at once. I 
have a bold and desperate game to play. [Falls into thought.) 

Lat. Squire Atvvood ! Come, what is your reply ? That woman 
shall never cross your threshold again. [Seeing Mullin, who 
enters R. u. E.) But this is neither the time nor place to settle our 
accounts. [Xing to '^.) 

Atw. Be it so— to-morrow. 

Lat. Aye ! to-morrow. 

Atw. (^wV?'^ ^ Mullin.) Where's Chncher? 

Mullin. Down by the shore. 

Atw. [Aside.) I must strike a desperate blow to-night. Good; 
to-morrow— he may not live to see the morrow. Exit, R. 2 E. 

Lat. ( Goes to table R. ; sits l. ) What can be done, and how can 
I save her from disgrace ? I must have time to think. 

Mul. [Seated R. of table.) You don't seem in very good spirits. 

Lat. Do you think so ? 

Mul. I want to speak to you, Mr. Latour. 

Mrs. Katcraft. ( Who enters L. u. E. ) Poor lady ! She is ill 
indeed. I have called Elsie to attend to her. She shall sleep in 
her bed to-night. Exit, r. u. e. 

Mul. It seems strange that people should say that you and I are 
so much alike; they might make a mistake. 

Lat. How do you mean ? 

Mul. Well, for instance, if anything happened to you what is to 
prevent me saying I were you. 

Lat. Proofs my friend. I carry upon my person, at all times, 
documents that would prove who I am. [Producing package of 
letters from coat pocket.) There, they are. [Replaces them.) 

Mul. [Aside.) It's all right. I must have those papers. 

Lat. Thus far, those papers have proved invaluable. I would 
have been taken to Sing-Sing to finish your time were it not for 
them. 

Mul. Eh ! What do you mean ? 

Lat. Nothing much, only a detective has been here and mis- 
taken me for you. 

Mul. Ah! 

Lat. Don't be alarmed. I said nothing to betray you. 

Enter Giggle rt«^ Mrs. Katcraft, r. u. e. 



J 



SAVED P^ROM THE WRECK. 35 

Giggle. {Smoking cigarette.') Mrs. Katcraft, is my bed ready? 

Mrs. Katcraft. Of course it is. 

Gig. Then I will prepare to take possession of it. Now, my 
dear Mrs. Katcraft, there's another thing of as great importance; 
my sour mash. I must have a soothing tonic, as the baby says 
who wants his paregoric. You will prepare an extra quantity — 
say a half-pint and leave it on your quaint bulTet. {Pointing to 
buffet.') Should I crave in the night for a drink, I can have it 
without disturbing any one. {Goes to table i..,stts R. H., and takes 
his shoes off. ) 

Mul. (r. at table.) Will you have a drink? 

Lat. {Rising.) No! I'll go to bed. I have suffered one deep 
and bitter disappointment, and had best prepare myself for an- 
other. If it should be as Clincher Katcraft says, and this boy is 
really unworthy, better, far better, to have gone down on the 
" Sovereign of the Sea" off Cape Hatteras. 

Mrs. K. Your room sir, is the third one, this way along the hall. 

{Pointing I., u. e.) 

Lat. Thank you. Good-night. Exit, l. u. e. 

Gig. Mrs. Katcraft, give me a sour mash, a sort of a night cap. 
(Mrs. Katcraft goes to buffet; Giggle sees her, arranging 
drink, which she brings to him. ) Ah, I see you anticipated my 
previous remark, and prepared the liquor in advance. 

Mrs. K. The amount already drunk by you, gave the thought. 
I had no wish to be aroused at night, only to hear you calling 
aloud for a sour mash. 

Gig. Wonderful head, ha ! ha! ha! You can't have too much 
of a good thing — like the lady who had twins twice running. Ha ! 
ha! ha! h — {Suddenly stops, as y[.\]\AA^ looks at him.) I shall 
really get drunk if I don't let up on sour mashes. {Slowly his 
head falls on table — the stupor from liquor is quite perceptible 
in him.) 

Enter Clincher, r. u. e. 

Clincher. {Aside.) The Squire has offered me double the money 
to put this Latour out of his way. Shall I take Mullin or do the 
job on my own account ? {Sees Mrs. Katcraft 7iearfire, watch- 
ing hiyn.) Hullo! wife — where is Mr. Latour? 

Mrs. K. Just this minute gone to bed. He seemed low-spirited, 



36 SAVED FROM THE WRECK. 



r 



poor gentleman, I intend to take him some brandy ; it may help 
to cheer him a bit— at least it will assist him to sleep easy. 

Clinch. Prepare it right away; I'll take it to him. [Aside.) 
I've got a drug. I'll shp it into the liquor and make him sleep 
the slumber from which there's no waking. 

Mrs. K. ( Who has prepared drink at buffet.) There's a toddy 
that will soothe his feelings, I'll be bound, {Going up stage.) 

Clincli. Hurry up — give it to me. [Taking glass — aside.) This 
will do its duty. [Slips powder into glass and Exit l. u. e. Mrs. 
YLatckavt fastens door ^. u. e., aiid arratiges the place for the 
night.) 

Mul. [Seated l..) Why should I take CUncher in the swim — 
■why not have the game all to myself? He's drugged that liquor. 
I could get into the house later on — when they are all in bed — get 
his clothes and that precious packet and pocket book. The game 
is in my hands. [Rain heard without, which continues till end of 
act.) 

Enter Clincher, l. u. e. 

Mrs. K. Clincher, I've fastened up the place for the night, ex- 
cept the side door [Pointi?tg to D. l. 2 e.) I'll leave you to fasten 
that when these gentlemen [Pointing to Mullin and Giggle) 
retire, or go. Good night. Exit, L. u. e. 

Muf-} Good night. 

Mul. ( Rises .) I ' m o ff. 

Clinch. What, ain't you going to remain here to-night? 

Mul. No! I'm off the job anyhow to-night. I'm going. Open 
the door and let me out. 

Clinch. Oh ! if that's your style, all right. (Opens door, r. u. e.) 
There, and glad to get rid of you. 

Mul. The same to you — and go to the devil. 

Exit, R. U. e. 

Clinch. I wonder what his game is ; had he drunk too much, or 
was he only shamming? No matter, he's gone, and it's all the 
better. (Mullin looks in at window l.) It's a big price Squire 
Atwood pays. [Looks out of window r.) Ah, the tide is on the 
ebb— and his body will go out to sea. (Giggle begins to snore at 
table.) What's that? I'll go up stairs and see if the women folk 



SAVED FROM THE WRECK. 37 

are asleep. ( Takes lamp from mantel at back, and goes towards 
L. u. E.) And then — well then, I'll make my mind up. 

Exit L. u. E. [Lights down.) 

Gig. [Waking up.) Hullo! where the devil am I, and where 

the devil is my room ? Everything is going round. I'm asleep — 

hie — it's too hot — hie — for — hie — me — hie — [Rises and staggers 

towards door, l. u. e.) This is my room. 

Exit L. 2 E. , after taking off his shoes 
and leaving them near fi?'eplace. 

Enter Mull in through wimiow l. 

Mullin. [At window.) So far, all right. I' 11 take off my boots 

lest I make a noise — and I will steal a march on Clincher Katcraft. 

Exit L. U. E, after removing his shoes 

and leaving them near Giggle's. 

Gig. [Re-entering.) I'll have another sour mash, if I fail in 
the attempt. [Puts on one of his own and one ^Mullin's shoes.) 
I must put on my boots ; my feet seem strange on this floor. Ha ! 
ha ! ha ! This is hunting a sour mash in the dark. I wonder 
whether I'll stumble across any other mash. — [Goi?tg to btffet, 
gets bottle and glass and Exits L. 2 E. , laughing. ) 
Enter Harley, Window l. 

Harl. This jacket is wet again. ( Takes Jacket off and places if 
on chair before fire, while speaking.) I'll place it before the fire, 
while I see Elsie. [Noise.) Some one is Q.Q>Ymx\%. -—[Hides behind 
screen; Enter Clincher without light ; Harley slips away 
through L. u. e. 

Clincher. It's all right. Now is the time. I'll throw him out of 
that window [Pointittg to window r.), and he will fall into the wa- 
ter below and be carried out to sea. Why, he's coming this way. 
[Sees Mullin, who enters backwards. He puts o?t one of his own 
and one </ Giggle's shoes. A short struggle ensues, and Mullin 
is stabbed and throivn out of window r. Splash is heard.) 

Cinch. Curse it, the sleeve of the jacket is torn, and it is Har- 
ley' s. Here's mine. — [Changes jacket by the fire, and puts on 
the other one. ) 

Enter Harley, l. u. e. Clincher hides behind screen. 

Harley. [Putting on jacket removed by Clincher.) I can't see 
Elsie ! I wonder if my father is asleep? I'll see. Exit, l. u. e. 



38 SAVED FROM THE WRECK. 

Clincher. What had induced that fellow to leave the tight-house, 
and come here, I wonder? {Knock heard at door, L. u. E.) Who 
can that be ? Perhaps Mullin has changed his mind and returned. 
{Goes and opens door. Enter Atwood, k. u. e.) Ah, it's you, 
Squire ! Hush ! Harley, for some reason or other, has returned 
to the house. He is now in Latour's room. 

Atwood. And he 

Clinch. Is at the bottom of the sea. 

Atw. At last, the obstacle between me and fortune is no more. 
(Enter Harley, l. u. e.) He's here 

Harl. (l. c.) I wonder where my father can be? 

Atw. (c.) Hello! What brings you here ? I thought you were 
on duty at the light-house. 

Harl. I came ashore to see Mr. Latour — my father. 

Atw. And now that you have seen him, I presume you intend 
going back to your post. 

Harl. But I haven't seen him. I have just come from his 
room, which is tenantless. The window is open and the place in 
confusion, 

Atw. Answer me, why did you desert your post to visit Mr. 
Latour? (Harley hesitates.) 

Clinch. I'll tell you. Squire. He went to Mr. Latour's room for 
the purpose of murdering him. 

Harl. Tis false ! 

Clinch. See, there is blood on the sleeve of his jackef , and the 
cuff is torn. 

Harl. I — I know nothing of it. 

Clinch. Oh, yes, you do, for from that window [Pointing i..) I 
can swear I saw you strike Mr. Latour down and cast his body- 
through that window [Pointing v..) into the sea. 

Harl. 'Tis false ! 

Clinch. 'Tis true ! Who, save you, can deny it? 

Latour. [Entering v.. u. e.) I— Joseph Latour! 
Tableau. 
Latour. 

c. Harley. 

L. c. 
Clincher. Atwood.. 

R- L. 

Curtain. 



SAVED FROM THE WRECK. 39 

ACT III. 
Scene i: A Country Landscape in the ist Grooves. 
Enter AxwooD, i.., followed by Fizzles. 

Atw. (c.) Fizzles, what does all this mean ? 

Fizzles, (l.) It's as plain as the nose on your face. The man 
who turned up alive in court is Michael Mullin, and not Joseph 
Latour at all. Mullin knows he's wanted ; Mullin knows of this 
wonderful resemblance ; and Mullin, finding Joseph Latour is 
murdered, wants to step into the dead man's shoes, and says that 
he is Joseph Latour. 

Atw. Ah ! I never thought of that. 

Fiz. But I did; and I can swear this man is Michael Mullin. 

Enter Clincher, l. 

Clincher. {On entering.) Why, of course it is. {Xes to -R.) I've 
just been before the judge in his chambers, and taken my affida- 
vit that the man is Michael Mullin. 

Fiz. Yes, and I've done the same. Here is the warrant for his 
apprehension on the charge of murder. 

Clinch. [Aside to At\\oot>.) Have you brought me the other 
halves, as you promised ? 

Atw. [Aside to Clincher.) Yes, they are in my pocket. ( Takes 
bank-notes from pocket-book, and puts them into his side pocket.) 
You shall have them directly. [Direct to Fizzles.) I don't 
think he can have left the court yet, Fizzles ; you mustn't lose 
him this time. Prove him to be Michael Mullin, bring this mur- 
der home to him, and obtain his conviction at any cost. 

Fiz. Eh! You seem very anxious to convict. 

Enter Harley with Elsie, L. 

Harley. No matter whom, so long as it is not himself. Ah, 
Squire Atvvood, you laid your plans well — the husband killed, and 
the son convicted of his murder. You tried your best to send me 
to the scaffold; mind you do not find your way to it yourself. 

Atw. I ! Absurd. 

Harl. Yes, you and your accompHce there. 

Elsie. Hush ! Harley, hush ! 



40 SAVED FROM THE WRECK. 

Clinch. I won't have my daughter associating with criminals. 
Come with me. [Xes to Elsie, who clings to HARLEY/<?r pro- 
tectioti. ) 

Elsie. No, father, never! Henceforth Harley and I shall face 
the world. 

Enter Latour, R. 

Latour. [Xing to c.) Yes ! but not as the penniless boatman, 
but as my son. Harley, my boy, your hand. 

Harl. Father! 

Lat. Look at the picture, Squire Atwood. Father and son 
united together. Be careful, Squire Atwood. When the truth 
shall become known, you perhaps, will stand more in fear of the 
hangman's rope than this boy who has been so foully accused. 

Fiz. You can't hoodwink me with such bombastic talk. Look 
here, I must arrest you. 

Lat. Arrest me ! Where is your authority ? 

Fiz. [Producifig warrant.) Here. 

Lat. {Looking over warrant.) This is a warrant for the arrest 
of Michael MuUin. 

Fiz. And you are Michael Mulhn. 

Lat. 1! 

Atw. Even you. It was a bold game to come into the Court 
and personate the dead. You obtained the freedom of this young 
man, but remember, both of you may have to go back to Court 
and give some better evidence as to your innocence. 

Lat. Have a care, lest I cause you to give an account of your 
actions yesterday. I, at least can prove without a doubt, who 
and what 1 am. 

Fiz. Come, Mr. Mullin, you are my prisoner. 

Lat. Have a care Mr. Fizzles, the blunder you are about to 
commit may cost you your position. I clearly understand, 
Squire Atwood, the meaning of this arrest. You want to send 
me up to Sing-Sing to finish Mullin's sentence, and, if possible, 
get the fortune of the woman, who is your wife — the wife you tried 
to kill. 

Atw. I ! 'tis false. 

Lat. No I I shall prove it yet — you bribed that ruffian there 
(^Pointing to Clincher.) and his companion to loosen the bridge. 



SAVED FROM THE WRECK. 41 

Atw. 'Tis a lie. 

Lat. 'Tis true! I came into the room when Mullin had retired, 
unseen by you.' I saw you give some of the banlc-notes to 
Chncher there, and you gave the others to me, beheving I was 
MuHin. Villains that you are, you were afraid to trust one 
another, and so you cut the notes in halves. One-half was paid 
before the crime, the other half to be paid after. I saw ( To Fizzles. ) 
Squire Atwood put the other halves back into his breast pocket. 
In proof of what I say, ask him to show you his pocket-book, and 
doubtless you will find even now the corresponding halves of the 
notes. 

Atw. In my pocket-book! [Slips notes to Clincher, titiseen.) 
There is my pocket-book ; see for yourself. 

Fiz. [Examining pocket-book.) No, they are not there. 

Enter GiGGLE, L.; seizes Clincher's arm ajid holds it up. 

Giggle, (l.) No! but they are here. Ha! ha! ha! [Xes to v.. 
C.) There's the man that does the work, [Pointing to Clincher.) 
and there's the man that hired him. [Points to Atwood.) 

Clinch. It's a lie ! That man is Michael Mullin, and I can swear 
to it. 

Gig. I can swear he isn't, and here's another who can swear the 
same. 

Enter MADELINE, r. 

Atw. Stay, madam — stay. I say that man is Michael Mullin — 
a convict. [Aside to her.) Beware! if you recognize him as 
Joseph Latour, your first husband, you prove yourself a bigamist, 
and as such you will be punished by the law. It is your choice — 
position and wealth with me — dishonor and disgrace with him. 

Elsie. [Going to her.) Oh, speak, madam! 

Madeline. Before the world I recognized in him, Joseph Latour, 
my husband. 

Atw. This evidence is insufficient. 

Gig. (r. c.) Let me make up the deficiency. 

Atw. You, you laughing idiot ! 

Gig. No, the laugh is gone, and I am in earnest now — ha ! ha ! 
la! in earnest — damn the laugh — I — I won't laugh, there — I 
i:now Michael Mulhn, and that is not the man. 



42 SAVED FROM THE WRECK. 

CHnch. Look out, Mr. Giggle, or your little forgery business will 
come to the surface. 

Gig. It can't. Ha ! ha !— Mullin is the only man who knew it. 
Mullin is dead, and the proofs died with him, and I_I_Augustus 
Giggle— won't stand by and see the ruin of an innocent man. 

Atw. You ! And what do you know? 

Gig. A little too much for you— too much for Chncher. Look 
at this boot. {Pulls up right leg of his trousers.) I heard Clincher 
and Mullin plot the murder of Latour. 

Clinch. It is a lie! 

Gig. Oh, no it isn't. And the boot will prove it. 

Atw. A boot ! Absurd ! 

Gig. Ha ! ha ! ha ! The boot. The night Mullin went to mur- 
der Latour, he took off his boots, and some how, in mistake, he put 
on one of mine, and I one of his. There it is ! On the feet of the 
dead body you will find odd boots, one of mine and one of his 
own. Look at this, with the convict's number on it. {Shows No. 
17 on boot leg. ) 

Fiz. True enough. This is Michael Mulhn's boot. 

Gig. Yes! but the boot is much too large for that man's foot. 
{Referring to Latour.) This boot is cut for a bunion— look there! 
and if it fits him I'll be hanged, as sure as CHncher Katcraft 
will 

CUnch. All rubbish ! How was it the body found was wearing 
Latour' s clothes. 

Gig. That's a thing I don't know. 

Lat. But I do. I had been drugged, but only partly so. My 
clothes were on the chair— Mullin came into my room, put mine 
on, and left his own. Hearing a noise, he went outside to see 
what it was. Seeing that foul play was meant, though half stupe- 
fied, I knew I was powerless against two men, both armed. I 
took the clothes he left and escaped by the window, while 
Chncher evidently mistook Mulhn for me and killed him. 

Clinch. {Aside.) This is getting too hot for me. 

Fiz. You'll have to come before the presiding judge and make 
an affidavit of this. I don't feel disposed to act otherwise in the 
matter. 

Mad. Joseph ! I have some letters and papers which may be of 
service to you. I will bring them. Elsie, come with me. {Xes l.) 



I 



SAVED FROM THE WRECK. 43 

Atw. So, Madam, you return to my home again ? 

Mad. For the last time. Fayette Atvvood, for years I have been 
the silent uncomplaining victim of your cruelty, but now a happier 
and better time has come, and Heaven grant that in this great 
wide world we may never meet again. Farewell for ever ! 

Exit with Elsie, l. i e. 

Atw. [Aside to Clincher.) Quick, Chncher, don't lose sight 
of them. We have a bold and dangerous game to play — the 
stakes, our lives — follow them. 

Clinch. [Aside to hi?n.) If you hear me whistle, come to me. 

Exit, L. I E. 

Harl. [Aside , following Clincher unseen.^ I shall not lose 
sight of you, Clincher Katcraft. Exit, L. i e. 

Fiz. [To Latour.) As to you, sir, I have one clue by which 
you can easily prove whether you are Michael Mullin or Joseph 
Latour, and here it is [Producing letter from pocket) ; a letter in 
the undoubted handwriting of Joseph Latour, written, on the day 
of the murder, to his bankers in New York. Give me a specimen 
of your handwriting. If it is the same, you are Joseph Latour, and 
if it is not, you are Michael Mulhn. [Shows letter from pocket- 
book.') 

Lat. I can easily do that. ( Takes out memorandum and writes 
in it, then shows it to Fizzles.) There, sir, is my handwriting. 

Fiz. ( Compares them. ) And it is not the same. 

Gig. No, of course it isn't ; but this is, ha! ha! ha! 

Fiz. [7 aking letter from GiGGi.^.) What is this? 

Gig. The original letter which was written by Joseph Latour — 
taken by the boy, Sammy — copied by Michael Mullin— torn up 
by Clincher, picked up by Mrs. Katcraft, and pasted together by 
me. ( lo Latour.) Hang me, if I am not your good angel, and 
I only want a pair of wings and a night-gown to look like one ! 

Lat. [Pointing to letter Giggle had.) This is my handwriting, 
and will correspond to the letter Mrs. Atwood has. You see, 
Squire, the truth is coming out. [A whistle call is heard 
from L.) 

Atw. [Aside.) The signal from Clincher ! I must gain time. 
[Direct, to Fizzles.) It is not for you to decide who this man is, 
but to take him into custody on that Avarrant. It is your duty to 
arrest him, and for his keeping, I hold you responsible. Exit, L. 



44 SAVED FROM THE WRECK. 

Fiz. Oh, hang it all ; I don't know what to do J 
Enter Mrs. Katcraft, r. 

Mrs. Katcraft. Oh, detective ! Oh, Mr. Giggle ! That husband 
of mine and Squire Atwood, I'm sure, are up to some mischief. 
Mrs. Atwood left to go up to her house and hasn't returned, and 
Clincher, I believe, has waylaid her and taken her to the light- 
house to murder her. 

Fiz. Murder her! What makes you think so? 

Mrs. K. I heard him whisper to Squire Atwood. Oh, don t 
stand staring there, but go at once, or there'll be murder! 

Fiz. I begin to see it all, but I must have authority to act upon. 
I know my game. You, sir, ( To Latour.) come with me. 

Lat. There's no time to be lost. 

Fiz. You gentlemen armed ? 

Lat. I have right and justice on my side, and they are the best 
weapons in the world. Exit wi/Zi Fizzles, l. 

Gig. Now I can have my laugh out. Ha! ha! ha! {^Going 
L.) It reminds me of my wife catching me kissing another man's 
wife for novelty. Come along, Mrs. Katcraft, Fm afraid you'll 
have to get another husband. Fm in the market you know. 
( Going off L. , laughing. ) 

Mrs. K. [Following.) Heaven, be praised ! the man's half- 
witted. Exit, L. 

Scene 2. Storage room on the ground floor of the light-house. 
At rise of Curtain, Music, tremolo. Enter Clincher and Atwood, 
Door "L. c, carrying Madeline, fainting; they lay her down 
upon canvas cot r., up stage. 

Clincher. It's all right. No one has seen us; we can leave her 
here till the tide's on the ebb, and then do our work and be off. 

Atwood. (c.) Curse that fellow, Giggle ! the information he will 
give in this affair, to the authorities, will be the means of our ar- 
rest. We had better take to foreign parts, before it is too late. 

Clinch, (l. c.) I have something to do before I can go. 

Atw. You! what ? 

Clinch. My little honest savings. There's many a gold watch 
and silver spoon the owners didn't give me — and a few handsome 
patterns of silk which I ain't a going to leave for my blessed wife 
and undutiful daughter. 



SAVED FROM THE WRECK. 45 

Atw. Let us go outside and see if the coast is clear. I'm sure 
no one has seen us. Exit, with Clincher, l. c. 

Enter Harley, door, l. 2 E. 

Harley. No one but me; [Coinijtg c.) So all is discovered, eh ? 
And they intend flying from justice. I wonder what it was they 
carried from shore ? No doubt some of the plunder of which 
Chncher spoke. How to prevent their escape — ah, their boat! — 
I'll cast it adrift. Ha ! ha ! ha ! the viliians httle dream they are 
caught like rats in a trap. Exit, l. c 

Re-enter At WOOD and Clincher, door, r. 2 e. 

Madeline. [IVakiug.) Where am I? [Xt\\oot> goes to fable R. c. 
down stage, pours out zuater into glass from jug and returns to 
her, speaking all the while. ) 

Atwood. Where you should be, with your husband at the light- 
house of Barnegat. (Clincher is seen looking off, out of win- 
dow, C.) 

Mad. 1 remember now, you met me on the road — seized me and 
I — oh — {Swoons. ) 

Atv.'. [Going towards Clincher.) The effects of the drug 
have not passed away. [At window.) How's the tide ? 

Clinch. On the ebb. We won't have to wait long to dispose of 
her. 

Atw. {Pointing off r. , out of window.') What light is that burn- 
ing? 

Clinch. It means all right ; the lights are worked with levers in 
the room above. No. i lever turns on a white light — that means 
all right. No. 2 turns on a red light — that's a danger signal, and 
is turned on when assistance is needed from the shore. If I were 
to turn on the red light, the life saving station would bring assist- 
ance here in ten minutes. (Madeline slightly revives.) 

Atw. [At side of cot.) Hush! see, she is reviving. 

Mad. Why am I brought here ? 

Atw. You hold in your name and to your account one hundred 
thousand dollars, which I cannot touch without your authority. 
Awkward circumstances compel me to leave the country. 

Clinch. [Do^un C.) Very awkward circumstances. 

Atw. But before going, you must do me a favor. Sign this 
document. [Produces document.) 



46 SAVED FROM THE WRECK. 

Mad. {Rising m cot.) Document! let me see it. , 

Atw. [Giving it to her.) Merely an authority from you to your 
bankers to withdraw and hand over to me the bonds and other 
easily convertible securities which are lodged there in your name, 
and which I at once will turn into cash. 

Mad. What would you do? 

Atw. Take your money and leave for Europe, and never return 
to America again. 

Mad. [Rising from cot.) And what if I refuse? 

Atw. I shall have to kill you first and forge it afterwards. Come, 
your signature. 

Mad. Never ! I will not beggar my son for the sake of a villian 
like you. 

Atw. Then, your life ! [RitsJiitig at her.) 

Mad. ( With defiance. ) Take it ! 

Clinch, [q. interposing.) Give her a little time to think. I've 
got my valuables to pack, and you must help me. If I lend you a 
hand with your plundering job, you must lend me a hand with 
mine, 

Atw. (r. c.) Be it so ; but we can't leave her here alone. 

Clinch. [Producing rope.) Lend me a hand to bind her — ( They 
lash her to cot.) 

Mad. Cruel and remorseless villains, not satisfied with my 
death, you would tortue 

Clinch. [Finishi7ig tying Madeline.) Theie, that's all right. 

Atw. That is a strange knot. 

Clinch. Yes ! it's a knot the devil himself couldn't untie — unless 
he knew the secret, and nobody knows that but myself and Elsie. 

Exeunt both L. c, up stage. 
Enter Elsie, r. 2 e. 

Elsie. And Elsie means to do it. 

Mad. Eh! 

Elsie. Courage, Madame. After I left you I came here with 
Harley, who will soon return. [Unties knot as she is speaking.) 
We were here together, when we saw Clincher and Mr. Atwood 
in the boat — but we did not know that you were with them. {Siip- 
porting Madeline to window.) 

Mad. He must hasten or he will be too late. Ah, the signals ! 
[Looking out of wijtdow.) 



SAVED FROM THE WRECK. 47 

Elsie. I understand them. You hide behind those [Pointing L., 
near l. 2 e.) coils of rope while I go and put on the red light for 
assistance from shore. (Madeline hides behind coils of rope near 
L. 2 E. Elsie Exits l. 2 e.) 

Enter Clincher and Atwood, l. c. 

Atwood. {Going towards cot.) Now then, your answer? 

Clincher. Damn it ! she's gone. 

Atw. She must have released herself. 

Clinch. I'll take my oath she never untied that knot. 

Atv(i. [Sees Madeline.) Ah! there she is. [He pursues her 
about stage ; she screaming. ) 

Mad. Help! help! [At window looking out.) Ah! the boat 
has gone. (Clincher and Atwood seize her.) 

Clinch. Ah, you will not escape us so easily, 

Atw. [Looking out of window.) Look! look there ! [Pointing 
out of wifidow R. ); the danger signal ! 

Clinch. [As he is going off.) Curse it ! I'll have it down in a 
jiffy. Bind her to those coils of rope. [Pointing R. ; Atwood 
binds her, while Clincher goes offi.. 2 e.) 

Atw. Aye! as tight as Chncher did. You'll not escape this 
time. ( Ties her to coils of rope r.) Ah, my pretty one, you had 
better consent to my wish. The tide has began to ebb fast and 
your time is drawing nigh. 

Mad. Monster! 

Atw. Will you sign the paper? 

Mad. Never ! 

Elsie rushes on through l. 2 y.., and hides 

behind rope L. Clincher Enters l. 2 e., 

inuch excited. Elsie disappears l. 2 E. 

Atw. (c.) Have you removed the danger signal ? 

Clinch, (l. C.) Yes, no fear of it again. 

Atw. [Looking and pointing K. out of window.) Look there ! 

Clinch. The place is haunted, or there's some one there — man, 
woman, or devil, let them look to themselves. [Draws knife, 
rushes to l. 2 e. Elsie /z^/</y door; Qia^cw^^ breaks it open 
and enters. Elsie rushes out, pursued by Clincher with drawn 
knife ; he seizes her at l. c. Door, and drags her down c.) What 
jade are you that dares to run things here ? 



48 SAVED FROM THE WRECK. 

Atw. (r.) Kill her. 

Clinch. {Dragging her down c.) I mean to — [Struggle ensues ; 
Clincher raises knife — about to stab Elsie — but recoils in blank 
amazement.^ Damn it, my daughter! 

Atw. [To Madeline.) Will you sign? 

Mad. Never! 

Atw. Take her Clincher and throw her out of the window. The 
tide is now strong enough to take her out to sea. (Clincher and 
Atwood lift her and carry her up stage Q.\ they are about to 
throw her out when Harley appears at window, through 
which he enters. Clincher rt«<^ Atwood <^r<7/ Madeline, w//^ 
falls into the arms of Latour, who enters l. C, accotnpanied by 
Mrs. Katcraft and Fizzles, who handcuffs Clincher. Giggle 
unfastens Madeline, while a struggle ensues between Latour 
and Atwood. During the struggle, Atwood atteinpts to shoot 
Latour, but shoots himself. 

Tableau. 

Fizzles with Clincher. ' Atwood, dead on Stage. 

up R. up L. 

Latour and Madeline. 

c. 

Harley embracing Elsie. Giggle and Mrs. Katcraft. 

R. c. L. c. 

Latour. (c. to MADELINE.) Now that the dark clouds have 
vanished, and sunshine looms in our path, I have one request to 
make — that you will forgive the past, and never recall the sad 
incidents of one who was "SAVED FROM. THE WRECK." 

Curtain. 



THE 



I Robert Make- Airs, 
s Bex and C«x. 

3 Mazeppa. 

4 United States Mail, 

5 The Coopers. 

6 Old Dad's Cabin. 

7 The Rival Lovers. 

8 The Sham Doctor. 

9 Jollv Millers. 

ID Villikins and his Dinah. 

11 The Quack Doctor. 

12 The Mystic Spell. 

13 The hlack Statue. 

14 Uncle Jeff. 

15 The Mischievous Nigger 

16 The iJlack Shoemaker. 

17 The Magic Penny. 

18 The Wreck. 

19 Oh, Hush ; or, The Vir 

ginny Cupids. 

20 The Portrait Painter. 

21 The Hop of Fashion. 

22 Bone Squash. 

23 The Virginia Mummy. 

24 Thieves at the Mill. 

25 Comedy of Knors. 

26 Les Miserables. 

27 New Year's Calls. 

28 Troublesome Servant. 

29 Great Arrival. 

30 Rooms to Let. 

31 Black Crook Burlesque. 

32 Ticket Taker. 

33 Hypochondriac. 

34 William Tell. 

35 Rose Dale. 

36 Feast. 

37 Fenian Spy. 

38 Jack's the Lad. 



ETHIOPIAN DRAMA 

PRICE 15 CENTS EACH. ^^' 



40 Camille. 

41 Nobody's Son. 

42 Sports on a Lark. 

43 Actor and Singer, 

44 Shylock. 

45 Quarrelsome Servants, 

46 Haunted House. 

47 No Cure, No Pay. 

48 Fighting for the Union. 

49 Hamlet the Dainty, 

50 C:orsican Twins. 

51 Deaf— in a Horn. 

52 Challenge Dance. 

[ 53 fJe Trouble begins at 

I Nine. 

I 54 Scenes at Gurney's. 

55 16,000 Years Ago. 
j 56 Stage-struck Darkey, 

57 Black Mail. 

58 Highest Price for Old 
I (Clothes. 

59 Howls from the Owl 

Train. 
I 60 Old Hunks. 
|6r The Three Black Smiths. 

62 Turkeys in Season. 
I 63 Juba. 

I 64 A Night wid Brudder 
I Bones. 

I 65 Di.xie. 

66 King Cuffee. 

67 Old Zip Coon. 

68 Cooney in de Hollow. 

69 Porgy Joe. 

70 Gallus Jake. 

71 De Coon Hunt. 

72 Don Cato. 

73 Sambo's Return. 

74 Under de Kerosene. 

75 Mysterious Stranger. 



39 Othelb 
^ /o "jsLciiuus otranger. 

THE AMATEUR AJ^D YAR. 

PRICE 15 CENTS EACH. 



Afloat and Ashore. 

Aladdin and the Wonderful 

Lamp. 
All's Fair in Love and War. 
Bad Temper, A 
Babes in the Wood, The 
Blue- Beard; or, Female 

Curiosity. 
Caught in his own Toils. 
Closing of the " Eagle." 
Dark Deeds. ' 
Eligible Situation, An 
Fairy Freaks. 
Fireside Diplomacy. 
Frog Prince, The 
Furni.shed Apartments. 
Girls of the Period, The 
Happy Dispatch, The 
Harlequin Little Red Riding 

Hood. 
Harvest Storm, The 
His First Brief. 
Ingomar (Burlesque). 
Jack, the Giant- Killer. 
Last Drop, The 



Katherine and Petruchio 
(Burlesque). 

Last Lilly, The 

Little Red Riding Hood. 

Little Silver Hair and the 
Three Bears. 

Love (Burlesque). 

Loves of Little Bo-Peep an<! 
Little Boy, The 

Lyrical Lover, A 

Marry in Haste and Repent 
at Leisure. 

Matched, But Not Mated. 
Maud's Command. 
Medical Man, A 
Mischievous Bob, 
Monsieur Pierre. 
Mothers and Fathers. 
Out of the Depths. 
Penelope Ann. 
Pet Lamb, The 
Poisoned Darkies, The 
Result of a Nap, The 
Robin Hood : or. The Merry 



76 De Debbil and Dt 

Faustum. 

77 De Old Gum Game. 

78 Hunk's Wedding Day, 

79 De Octoroon. 

80 De Old Kentucky Home 

81 Lucinda's Wedding. 

82 Mumbo Jum. 

83 De Creole Ball. 

8 Mishaps of Caesar Crura. 
8s Pete's Luck, 

86 Pete and Ephraim. 

87 Jube Hawkins. 

88 De Darkey's Dream. 

89 Chris. Johnson. 

90 Scippio Africanus. 

91 De Ghost ob Bone 

Squash. 

92 De Darkey Tragedian. 

93 Possum Fat. 

94 Dat Same Ole Coon. 

95 Popsey Dean. 

96 De Rival Mokes. 

97 Uncle Tom. 

98 Desdemonum. 

99 Up Head. 

100 De Maid ob de Hunk- 

puncas. 
loi De Trail ob Blood, 

102 De Debbil and de 

Maiden. 

103 De Cream ob Tenors. 

104 Old Uncle Billy. 

105 An Elephant on Ice, 

106 A Manager in a Fix, 

107 Bones at a Raffle. 

108 Aunty Chloe, 

109 Dancing Mad, 
no Julianna Johnson, 
in An Unhappy Pair 

ETY STAGE. 



vSlighted Treasures. 
Three Temptations, The 
Tragedy Transmogrified. 
Two Gentlemen at Mivart's. 
Virtue Victorious, 
Wearing of the Green. 
Wine Cup. The 
Women's Rights. 
Wrong Battle, The 

VARIETY. 
-AH in der Family. 
Big Bananna, The 
Decree of Divorce The 
Dot Mad Tog. 
Dot Quied Lotchings. 
Dot Matrimonial Advertise 

ment. 
Gay Old Man am I, A 
Leedle Misdake A 
Mad Astronomer, A 
Lonely Pollywog of the Mill 

Pond, The 
Mulcahy's Cat. 
Ould Man's Coat Tails, The 
Spelling Match, The 



P. •• Box 3410 



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Anj^ o/the above 'willbe sent by mail on receipt 0/ the price, by 
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SucceBSor to Koobbach <b Company. 

cMurray 9tr«et, New York, 



LIBRARY OF CONGRESS 



ii 

BY FORCE OF 1/ » biI'E im S 



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.V IX l^^ivK Acts, i^y 11. \". ^oot. 



Price, 15 Cents. 



Xinc mal.-, tluco frmah' rlianictr is, v'/s.; Leading and Second Juvenile Men, 
Old Man, ('ieMit«Ml Villain, Walking Gentleman, First and Second Light Comedian:*, 
Heavy Character. Low Cnmidian, Leading and Second Juvenile Ladies and Comic 
Old Maid. Time <>f playini;, 'I wo liours and a half. 

SYNOPSIS OF EVENTS. 



Act L Ix>vf, vs. Imi"UI_sf..—D oiler- 
clutch's ofTice.— A fruitless journey, a 
li.-ap of accumulaterl business and a 
chapter of unparalleled impudence.— 
News from the ♦luiit.— A poor gill's 
trouble and a lawvii's big lir^art. — Hil- 
da's sad story.— '" I Ml s<e this thing 
through if it costs me a fortune!" — A 
sudden d>-parture in search of a clue — 
Themeetnigoftrirnds.— One of nature's 
noblemen.— Maitland betrays his secret 
by a slip of tlie tongue.— ^The ball at 
IJeachwood. — Twosi)oonevs,fresh from 
college.los-- their heads and their hearts. 
— "Squashed, by Jupiter! '—Trusting 
innocence and polished villainy. — The 
interrupted tryst. — An honest' man's 
avowal.— A picture of charming simpli- 
citv.— Munlell and Hilda meet face to 
face. — "I dare you to make another 
victim I" — A scoundrel's discomfiture. — 
Tableau. 

ActH. The Sr.rARATioN.— The Mait- 
land homesti-ail. — Anastasia's doubts. — 
A warm welcome and its icy reception. 
— Forebodings and doubts.-^Father and 
son. — S<"arching questions. — A domestic 
^torm and a parent's command. — A 
foiled villain's wrath. — Enlisting for the 
war. — The collapse of the cowards. — 
" It 's no use, 'Dolphy, the jig 's up !" — 
Hilda's synjpathy aiul Adnennc's silent 
dtspair.— The result of impulse. — The 
Lither pleads for his son. — Anastasia 
and Dollrrchitch. — Coriolanus comes to 
grief. — (loodand bad news. — Husband 
and wife. — Reginald fb'inands an ex- 
planutii>n. — A h:ind without a heart. — 
'i'he s<'paration. — A n<-w recruit. — Too 
Lite: tlie roll is signed. — Tableat. 

Act HL Duiv vs. Lmpulsf.. — Four 
years later. — .\ camp in the army. — 
Ixjnging*. — "Only six miles from 
home !"— The skileton in the «:losct. — 
A father's yearning for his child. — A 
s.oman-liatf-r in love. — T)ollerclutch's 
<!r('am. — A picture of camp life and fun. 
— Coriolanus has his revenge. — News 
Irom home. — DoUerclutch makes .i big 
llnd. " Kureka ! "—Proofs of Hilda's 
jiarentagc and marriage. — A hajipy old 



lawyer.— "1 'II take them to Hilda!"— 
Detailed for duty. — A soldier's tempta- 
tion. — The sentinel deserts his post. — 
The snake in the grass. — "At last, I can 
humble his pride I " 

Act IV. The Reconcii-iatio.m and; 
Sf-QUEI-. — At Reginald's home. — New»j 
from the army. — " (irant is not the man] 
to acknowledge defeat!" — .Adrienneand"" 
Hilda. — False pride is broken. — The re- 
conciliation. — " Will Reginald forgiveJ 
met" — DoUerclutch brings joy to Hil-| 
da's heart. — " V'ou are the daughter of ] 
Morris Maitland !"— The stolen docu-| 
ments and the snake in the grass. 
"Hang me if I don't see this thingJ 
through !" — A letter to the absent one.- 
Face to face.— The barrier of pridel 
swept down. — "Reginald, I love you;] 
come back!" — The happy reunion. —An" 
ominous cloud. — "I nave deserted myi 
post ; the penalty is death. I must re-i 
turn ere my absence is dis^-overed I" — 3 
The wolf in the sheepfold. — A wi'v 
tempter foiled. — A villain's ra;.; 
"'Ihosc words have sealerl your do 
— The murder and the escape 
DoUerclutch arrives too late. — The pui^ 
suit. 

Act V. Divine LMriTLsn.— In cnmp — 
Maitland on duty. — The charge ■ ? 
sertion and the examination. — "I 
liot what 1 did !" — The colonel's len' 
Disgrace. — News of Adrienne'sm- 
is brought to camp. — Circuins' i 
evidence fastens the murder vipoii 1 _ 
inald.— The court-martial.— Coin ictcJ 
and sentenced to be shot. — Preparations 
tor the execution.— • Gi.d knows I am 
innocent! " — DoUerclutch arrives i 
nick of time. — "U you shoot thri; 
you commit inunler!" — The begii 
of the end. — "Adnennc lives!" — ■ 
Iain's terror. — Adriennc appears ■ 
scene. — "There is the attemjited a 
sin !" — Divine impulse. — The reward oi 
innocence and the i>unishment of vil- 
lainy. — Good news. — " Hurrah, the war 
is over; Lee has surren<lered toGnint!" 
— The happy tfeiiouement i^mX/tHaU. — 
Tableau. 



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